~

on Ine cover is an examretICulation. process. The 11 110Pldduce a speci'al n here as a patound Another photo ~Ion page 188 shows a "U! ou. Id. For more on this I'((\lo 172. Photo by I nncn, Kodak Relory

FOR YOUR SAFETY

Care is required in handling all chemicals. Photochemicals are no exception. For example, it is advisable to wear protective gloves to prevent skin contact with many photographic chemicals. Safe handling information for a particular Kodak chemical can ordinarily be obtained from the product label, the Material Safety Data Sheet (available from Publications Data Services, 343 State Street, Rochester, New York 14650), and Kodak publications such as Safe Handling of Photographic Chemicals (J-4) and The Prevention of Contact Dermatitis in Photographic Work (J-4S).
Standard Book Number 0-87985-309-3 Library of Congress Calalog Number 73-87110

1983 Eastman Kodak Company, Third Edition

1973, First Edition 1975, Second Edition

Page Illlrodllotiotl Aoknowlodgrnonts hapter 1 ONTROl TECHNIQUES. ................. .............. .. ... .. 16 22 22 22 24 24 26 28 28 31 31 32 34 34 35 36 Printing In Printing In with a Glass Negative Carrier. . . . . . . . . . . . . . . . . . Local Flashing Dodging Dodging with Matte Acetate Dodging with a Glass Negative Carrier Dodging with Dye Dodging with Filters Masking Contrast-Reduction Masks Area Masks Contrast-Increase Masks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Reducing Reducing Films Reducing Black-and-White Prints Intensification Intensifying Black-and-White Negatives and Transparencies. . More Information. ............................. ... .. .. ... . Chapter 2 IMPROVING COMPOSITION & APPEARANCE OF PRINTS ........ 41 43 45 45 45 46 46 49 50 Vignetting Printing Several Images with Vignetting Diffusion Diffusing the Whole Print Area Diffusing Selected Areas of a Print Distortion Convergence Controls Distortion for Creative Effects hapter 3 ATING NEW PICTURES FROM OLD NEGATIVES ,. . ................. 11 15

chapter 4
PRINTING WITHOUT NEGATIVES . . . . Photograms ............................................ Black-and-White Photograms Color Photograms Paper Negatives Printing Slides .......................................... Chapter 5 COMBINING BlACK-AND-WHITE

Page 90

93 93 93

97
101

& COlOR

102 106 109 109 110 114 120 121 123 124 126 127 127 129 131

38 38
40

Toning . Processing Prints for Toning . KODAK Prepared Toners ,.' ,, Using KODAK Toners , ,. .. Mixing Your Own Toners Producing Red Tones. . . . . . . . . . . . Producing Multiple Tones . Recommendations for Toning KODIIK Ilnpol '11111' Printing on a Monochrome Color Papor ..... Printing Color Negatives in Black-and-Whlto . KODAK PANALURE Paper . Making Black-and-White Negativesfram Slid Printing Black-and-White Negatives on Calor PIlPUI Adding Color Later ,, .

I1I IIII( loners

Chapter 6 CREATING HIGH-CONTRAST PICTUR,;;o ..................... 140 150 151 153 154 154 159 161 163 Using High-Contrast Films , ............ Selecting the Film .................................. Retouching High-Contrast Films ............... , ...... A Variety of Uses for High-Contrast Films Prints and Slides ,., Titles Creating a Bas-Relief ................................ Creating a Tone-Line Negative

. . . .

Chapter 7

& SLIDES..

56
60 60 68 72 72 76

RETICULATION Simulating Reticulation with Texture Reticulating Black-and-White Films Reticulating Copy Negatives Color-Negative Films Reticulation by Inspection Special Effects from Freezing Screens . . . . . .

172 175 177 180 185 188 189

Texture Screens Commercially Made Texture Screens . . Making Your Own Texture Screens. . . . mbinatlon Printing Adding Clouds to a Sky . . . . . . . . . . . . . Combining Images for Creative Effects.

..... ...... .. .. ... .................. ......... ... ...... ......... .. .... ...

Page IZATION & THE SABATTIER EFFECT . . . . . . . 190 195 195 197 212 214 219 '110 Sabattlor Prints Film Il1e Sabattier Prints Slides Chapter 9 POSTERIZATlON Posterizing Technique Tone Separation Posterizing Black-and-White Prints Posterizing Color Prints Printing a Color Posterization Printing Posterizations with Homemade Posterizing Color Slides Chapter 10 GUM-BICHROMATE PRINTING . . . . . . 264 268 268 268 269 269 Preparing the Chemicals and Paper Mixing the Emulsion Printing on Gum-Bichromate Paper Developing the Print Using Multiple Colors and Negatives Chapter 11 PHOTO SILK-SCREEN PRINTING Cleaning the Screen Preparing the Photographic Image High-Contrast Images Continuous-Tone Images Transferring the Image to Hi-Fi Green Film Exposure Development and Washout Adhering the Film to the Screen Printing Applying Several Colors More Information . : .. . . . . . . . . . . . . Fahrenheit . . 289 289 289 273 277 277 277 277 277 278 279 281 281 283 287 288 288 . . . . . . . . 230 237 238 240 244 244 250 253 Effect in Black-and-White

THe PROCESSES
Process

COVERED

IN THIS BOOK:
Page . . , "
0 0 0

1)1 lIIUIIIl) with Matte Acetate Mrll<llI(J Masks II(Jlillclng Films with Farmer's Reducer ,
00000 0 0 , ,

26 31 35 38 40

Effect in Calor

.'

IIIH/lInlng Prints with Farmer's Reducer IlIlol1slrylng Black-and-White COlllblnation Film

",.

000'

000'

Printing from Separate Negatlv()" . . . . . . . . . . . . . . . . .. ,',

'"

7
97 110 114 114 115 116

Mnklng Paper Negatives. IJt1lng KODAK Toners

"" ..
0

0'.'

00

Color Negatives

Mixing KODAK Hypo Alum Sepia Toner T-1 a .. , Using KODAK Hypo Alum Sepia TonerT-1a

0,000

0'

00'.

0000'

Mixing and Using KODAK Sulfide Sepia Tonor T-7(\ . Mixing KODAK Polysulfide lJolng KODAK Polysulfide Toner T-8 Toner T-8

, ..

116
0 0

Mixing KODAK Gold Toner T-21 t Jolno I<ODAK Gold Toner T-21 Mlxll1(1 fine/ Using KODAK Blue Tonor I Illoc:onnlll(J Illgll Ilollmrllltlll[l I tollclrllIlllllI 1lllllGlIlllllol1 11)1) !,IIIHlttllll ,

117 118 119 152 180

i'n . , , ..
0 0 0 ,

contrast

Films .

I3ll1cl< and White Films Colur Noonllve IlY lnupnotlon I IIIH;1 wlllll<OI)I\I< Films .. , ,...

0""

185 188 . 196 197

., .

, .

"

1'01 YCON 11 tl\UI I'IIPIII

, .. ,', ,.
0 , ,

1110~;IIi1(1ltltl/ I lIocl wllh 1(01)1\1( III

tHi X

1'11I11'11,11 Lltm G I r,

1'1111 Hnl>nltllll I IIIH:I wlth KODAI( Conunorclnt IIHJ nnlHlttlor I fI(Jcl wlll: KOi)AIIIII

,
1

.
.
. . .

203 209 218 219 243 249 263 272 287

011110l llm ?G5G, 'type ~l , ,

lhu !,nIHlttlor I'[[ocl wlth I(OI)AI< I I( IACOt

on

14 nc and 7fll fljJor

l hu Gnllillllor

L rroct wlll1l<OllAI( (LHI AI\ lhlck Baso) ..

l'llllto

VI 11ICOLOn Print Film 1\ 1I I ,.,.,, " ,

INFORMATION Fixer Stains from Clothing lornparature Conversion Chart-Degrees to Dogrees Celsius I\IlY Questions? KOI ll\K nook nomoving

1'(H,lmlzll1(J I1lack-and-WllIto 1'(Joltll'lzllHl Color Prints l'ont()rl.'.IIl~J Color Slides Gum Illchromate Printing ,

,"",

. . . .

Photo Silk Screen Printing

11

INTRODUCTION
l hln hook Is for people who have mastered the basic darkroom techniques, such 11\IJI(Jllllssing film and making high-quality prints, It will Introduce you to new plllJlII[JIHphic techniques and stimulate your croatlvity In Iho da: kioom , Creative 1l1ll/If()Om Techniques will help you make betto: 1'1'11118 Ir0111110(lilllv(JI, VOII already IHIVII, nnd show you how to create new picturou I/Om IIHJlHJ 11IJllflllvll!, You can 1:111111>1110 the techniques presented here in any WilV V()1I1 IlIlfllllllllllilll 1IIIIIels for a l;olllll1ulng variety of new pictures, The posslbllltlun 11111 111111I1i You'll learn several ways of reducing r.()IIIII1I~1 I11 Vlill! 1'11111,\,IlIld IIOW to 1II1[HOve the composition and appearanco 01 VClIII [1111111"" IIV VIWIIIIIIIIU, dlllu';lOll, and distortion techniques. You can create pictures in your dariW)(JIII wlllllIlll 11';[11\11I II0{lllllvl), One ohnpter explains the art of making phOI()~IIfIIII!I, 111111,11111 I 11111llJllllllvus, and pllnting slides. Have you ever reversed the system and 111111111 I 1111111 plllll IIUI11 a blackmd-wnlte negative or a black-and-white prlnt 11011111 I 111111 11111[1 ulvu? It's possible 10 add color to the black-and-white prints YOII'VI ,1111IIIV IlIflci(J nnc to print hlnck-and-white negatives on color paper. You cnn III U I 1(1I111! 1I0W pictures by lining black-and-white and color negativos 10(Julll()11 Iligh-contrast films offer you anothor crontlvo (tlllllll III 1111) dl1i1lloom, One chnplor 01 this book is devoted to 1110many WflYU 111111 Villi dlil Ilhl1 Iiltlll contrast 1IIIIIn 10 make old pictures bettor or to rnako 01<1plctuuu: IlIlrl II11W 111111', /\ tochnique that has regail10el populfllllV IIJC)IJIIIIV I'J Illr ',"1111111111 Illoct, !:OIIlIlICll1ly cauod soterizetion. f3y ruoxponlnq 111111'1 ClI 1"1[1111 "11111111 IIlJvolop11111111, VOII cnn produce both a I1O{j1l11 VII 111111 11 [lIIIIIIIvIJ IIIIII!!" I11 V"III plotures. IlJflllI how to produce these sulklnu 111111 111111"11111 1'1, 1111111, III 1111111 hlnokandwhltu und oolo: bV I'ondlng tho ClHlplll1 111111111 "111111111111 I ,,(,ri!, III 11111 r,IHlI'IIII on rotlculatlon, VIIII'II IIlId ('1.11IIt'IW It, [JIIIII1WIl I1 built-in tuxtur 'II.IIJIIII III VOIII ncqatlvoe. TIIIIIII", ,dllll /I ",Ut;11111I 1111 IIIIW III IIIIII/U negatlVII'i illICI '1IId!)!! 1111,lIl/lln lrost pollolll'l 1/11 11111'1 YOL;, 11\11 Wllil I,IIIIW!, whnt excit1IIlIII11W [111:11111111 vou IlIfly bo ablo to clodlld IIV 1/1,1111IIHI'oIIIIIIIIII011, you CHII {Ilv(J VillI! plilJlol)lllpiJ','IIIII'J\11I IIko appear11)(;11wllllll Will IIlv(I 1III1I1lllllc IJlllplHlnl'i III 110111(J 1'11.1111"'1 11111chapter on POUIIHIIIIIII)JI will 11111 Villi how 10 POUI(J11/1JVIIIII (JXI:lI111(1IllIlI'llIvlJll find slides, \1111 It id'llI 1'lclll<lW, 1I111111'IV WIIV III IIHiI<o 1I111111plu OXpO:0111 IHl wllh 11camera that wlIlI'l 1IIIIIIIIu oxpouo: (111111 hicluomnl [lIIIIIIIIIII!i nnnthor okl tochniquo whlrh l: IJocoming popu1111(11]11111. You'll 1011111 liow III 1IIIIko your own photoqrnphlc paper which is dlJvlllopllil I" watorl WIlII ~I"III IJlc;IllIlI118l0, you can print III hlack-and-white or I 111111, "lid you can comblno :,IIVIlIfII lmaqes on the samo paper. "IHllo silk-screen prlntlllU, n combination of photography and graphic utn, oluus an additional aron 01 uxpression for the photographer, Using this pi (JOIHH1,you can make inexpennlvo multiple copies 01 the pictures you produce. 11110 book will give you somo loons on how you can create new and interestInn photos in your own darkroom,

"'i

11

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-

ACKNOWLEDGMENTS We would like to thank the many peopla w//O r:tJlIlIl/llIl(l(I/(liltl': /1/111 information for this book. Members olll/() 1'/lIllol!l/I,,/1/1 1,11I'/lIly of America shared the photographic 1001/11/(11111" /lIIIIIIIIIY 1/lIVIl tried and found successful, and many l(oi/u/l 111111/1111 11/1111 "I! /I /I III technical expertise. Professor Jamos I Mr.MII/11111 ,11.,1111111 Rochester Institute of Technology, was nI/I 111111111/1' 11/11111111 /1/1/11I/11:1 to students who are experimenting will I IIOW /f/I I" 1/1/"1p. "111//11 gathering student pictures for use In 11i/1:11011/11/11'.111111/1 I 1111/(11/01 have evolved without the votunuu Y 11,.':/.'.101111 " 1111I/lII/Y photohobbyists interested in holpllHI Oll,f//. I, I 1/!lIIIIO/I enjoyment from their II()/J/I~

ARTHUR

ALEXANDER

Creating

High-Contrast

Pictures,

page 140. Combination

Printing,

page 72.

WE WANT TO HELP YOU MAKE GOOD PICTUR

This book explores many different photoqrnphl: 11)(III Ilql /1-" lilt! ," Id IIOWwhich you can use to get good pictures. 11yllll IUlvlJ IIIIY '1'-"",11/11111ubout the lechniques described here or about any phnuo 01 pi \111/1\11''1 lily, wllll1 III us. We have the answers. Our staff of photographic SIl(l(;lldhl', III /lVlill,,1111I In nnswer your questions and help you make good pictures. The Kodak products mentioned have been I quivalents of these products can also be used. tm;IIJtI I11 I' 1:111111, IlIilnlfltories.

Kodak products are available through photo dealal:>, II,IIY 11/(1/1111 available rl/rectly from Kodak. If you can't find the products rnonllumu l III Iilln book, we have a list of mail-order houses located throughout Iho 11111101\ ~ltlllos, so that
people who live in remote areas can obtain the matorlals \I\fly nnod. Send your questions to Eastman Kodak Company, 1'110111 tnlormatton, nnrtrnent 841, Rochester, New York 14650. You'll get \110 nnnwors. De-

BARBARA

JEAN

Printing Without Negatives, page 90. Combining Black-and-White & Calor, page 104.

15

14

I Techniques
"quos that will help you make exhibition-quality prints from herd-to-prlnt ttvo by controlling the contrast so that both the highlight and shadow will print with a full range of detail and tones. The techniques themIVD."! do not show on the final print;

Improve

the appearance

they are used during or after the printing of the picture.

You can lighten the highlights in your print with local reduction. These sails were brightened up by applying KODAK Farrncr'n Reducer, as described on page 36. Thon tl111 print was toned blue to give it even mor impact. Toning is explained on page 106.

PAUL

O.

YARROWS

'hl~ plollllll WIlS taken with electronic flash, and the log reflected a lot of light. I Itll 1llIIIIItillO highlights were given extra exposure to darken them during "'.,lIllItiIlU (lIving additional exposure to selected areas of a print, which is IIn" /111//11//(/ In or burning in, can turn a good picture into a great one.

17

In the straight print above, tha canter of the flower is too dark, and highlight on the leaf is too bright. The improved version below was made by printing in the leaf for an additional 15 seconds and dodging the center of the flower for 8 seconds during the initial exposure. Dodging and printing in are easy to do. By using these techniques you can improve your prints and make them look more professional.

III

PETER

CHIESA

19
BARBARA JEAN

I1 '11111/ 1I111/lIl1vun WO 1111 porlectly exI"ltlnrl, pi oporly dovolopod, and in1,IIIrln IllllJJecls having average lightIIIU contrast, you'll be able to make o()(1 prints without using the control IMI:11Illques we're going to discuss in 111111 section, and you can move right Oil to "Improving Composition and Appearance" on page 41. But many times the brightness range of a subject is far beyond the range of tones that you can reproduce in a "straight" print. By using contrast control, you'll be able to print the detail in both the highlight and shadow areas to produce a print having a full range of detail and tones.

Where have all the clouds gone? You remember they were there when you took the picture, and they're visible in the negative. You can make the clouds visible in the final picture by printing in. The top picture was given an exposure to properly print the lighthouse and rocks, but the sky turned out to be too light. The bottom print was given the same exposure as the top print and then the sky area was given additional exposure to bring out the detail in the clouds. You can often tell how much additional exposure you will need by studying your initial test strip. The main part of the scene may look good printed at ten seconds while the sky looks best when printed at twenty seconds.

rho rock was very bright in the initial print, so the photographor prlntud It In to tone it down. Later, he spotted out the white areas with KODAK Rotouchlng Colors. For more information on adding color to prints, turn to pago 131.

21

IN
" l,'vlI 1111111111111/11 uxpcsure 10 II11ul11 11111I1'1 111111 wOllld otherwise 1111 lOll 110111 "',,' IIlIVU no detail. For '''pll1, Cl flI1s11picture of a white Ie/III{/ coke will often lack detail in IIIn c:lll~o when the rest of the print is wnll exposed. This can be corrected by 1110 lechnique called "printing in," You can easily make a tool for printing III by cutting a hole in a piece of black cardboard. Many people find that their hnncs make flexible printing-in tools, First, give the print its normal exponwro, Then, without touching the pi IIlI or the easel, hold your cardboard 100101 your hands under the enlarger IIIIHl about midway between the lens "If I 1110 print. Start the exposure and IIIIlVO your printing-in tool so that only 1110area of the print which was too Ilghl receives the additional exposure, For your first trial, give an exposure qual to the exposure you used for the Whole print. Then adjust this time for later prints if you need more or less xposurs in the printed-in area, Keep your printing-in tool in continuous molion during the exposure so that you won't get a dark edge in the area of Idclltlonal exposure, 11 the line between the well-exposed 11111\ of a print and an area that you WIll 1I 10 darken is rather intricate, you I 1111 IIlnke a printing-in tool from a dry, 111111 IIlllargement of the same size as 111" rllllorgement you're printing, Or, 11 1'/111 place a piece of stiff paper on lilt! !11lIH)1 nno sketch the outline of the I~" Y"II want to darken, After you've IV"" yllIl! final print its normal expoIlIn, 1'1/111 In the area that is too light IIl1ldll 11/1110 cutout pri nt very close IIln pMIlIl1 YOIl are exposing, Move 11111111 PIIIII ollly very slightly durIll" r"I'!)1111!1l II may take some Ii IIJullll'llll1o effect you want.

Printing In with Glass Negative Carrier

Here's a toclHIIl/lI1l that the pros use when they have 11number of prints to make from the SOITlO negative and the negative needs some printing in, You will need a glass negative carrier, a KODAK Diffusion Sheet (003-inch), and some petroleum jelly, Put your negative in the glass carrier, and tape the diffusion sheet on top of the upper glass, Work on an illuminator so you can see where to place the petroleum jelly, Over any areas of the negative that need printing in, apply a small amount of jelly to the diffusion sheet. Rub the jelly into the sheet and feather the edges, The areas where you have applied the jelly will become transparent, which allows more light through the negative to print in, The diffusion sheet cuts down on the amount of light printing through other areas of the negative, and the negative will print in with detail in the highlights and shadows during one exposure,

A cute shot of a boy with his dog, but that pole growing out ()IIII~ /11111" distracting, You can often eliminate distracting elements In tllIl luu /'1111""1" of your prints with some local flashing, The print bolow Wit" 11" CIII1" with a penlight to blend the pole into tho baokruouuu

Local Flashing
Local flashing can be a great help in eliminating out-of-focus highlights shining through foliage and in darkening selected areas of a print, You can convert a pen-type flashlight into a flashing tool by taping a cone of black paper around its tip so that its light can be projected onto the paper through an aperture as small as desired, You may need to reduce the light intensity of the penlight by taping matte cellophane tape over the flashl ight lens, Try one layer of tape, and then add another if the light is still too bright. First expose the paper as you normally would and leave the paper in the easel, Place the red filter on your enlarger over the enlarging lens and then

"1"

23

11111 Illl1riliPII '111VIlli con see Illfll lillllllllfltllllllll. With the Itl 1111'11111111 111111, 1'11111 In areas I WIll 11III dllll\llIl, then process I'tll 1111111) II()IIII"I way. IIIJI"llIl, pnnlcularly with your I rtlw nttompts at flashing, to flash Inll luul strips and develop them 10 rind, 1110results. Keep track of the IIII!II""~J time as well as the general IIOlJllllve-exposu re ti me, and alter you r 11)IHlnting procedure accordingly.

DODGING
Wllh dodging you can hold back 1111111 from areas that would otherwise IHlllt too dark. You can use your hand In a dodging tool for large areas. It's ilso easy to make a dodging tool by I(lping a disk of cardboard to the end of a piece of coat-hanger wire or to a V4 -inch-thick narrow strip of transparent plastic. To use this tool for large areas, hold it close to the lens; for small areas, hold the tool close to the paper. In dodging, you hold back light from the projected image during the basic exposure so that the paper receives luns-than-norrnal exposure in areas thnt were too dark in the straight print. Wl,lle you expose the print, hold your dllclning tool by the end of the wire 111plnstic handle and allow the cardtlflilld disk to cast a shadow over the 111,111 III the projected image which is IOil rlru k. The handle should be long 1111111111 no your hand doesn't cast a 1'111" IW Oil the paper. Make sure that 111111111' 1110whole dodging tool in ItI"lillll illIIll1g the exposure to make Ill" udoe around the dodged 11VIIII'11l llslng wire for the han11111 I111111 c11 I will also avoid getting 11Villi I ,,11111 from this shadow.

Dodging with Matte Acetate

This is the easiest method to use when you're enlarging a 35 mm negative which needs a considerable amount of precise dodging. By using a sheet of matte acetate in contact with the enlarging paper, you can shade the dodging onto the acetate with a soft lead pencil; when the print is exposed the pencil markings and shadings are incorporated into the print. The print will be lighter in the areas of the pencil shading. Not only is this technique a precise way of dodging, but it's easily repeatable on any number of the same-size enlargements that you want to make.

8acklighting often produces strong shadow areas.The racou11111 III 11I II,Idllw and too dark in the print above. In the print below. \110 11101111 W"" dodged for 11seconds of the 13-secondexpcsuro 1011(11111111 lII""1
-~

..

~ ..

-...-....-

 Ulng with Mntto Acetate

1IIIIpUl1111lil!IlIl)juclod image and adjust the enlarger height as
11'11I11 1)1/,11111) tho ,)(agative over and make a print. This print will have

IIIVIJ/:Ioci I"Hlgo. AfltJi IIl1s prllll is processed and dried, tape it down on a flat, Will! luumlnated surface. Tape a sheet of clean matte acetate over 1110 print so that the diffusing or matte side is facing up. Matte acetate, such as KODAK Diffusion Sheets, is available from photo dealers . 1. Use a medium-soft pencil and very light strokes to gradually shade In the areas that you want to print lighter. For broad areas, cover the area with pencil lines and then smudge them into an even tone with a ball of cotton. '1. After the retouching is complete, turn the negative over in the enlarger to its normal position with the emulsion side down. Turn on the enlarger, and with the acetate sheet matte side down in the enlarger easel, register the retouching with the projected image. Registration may require a slight adjustment of the height of the enlarger because the reversed-image print may have changed dimensions as a result of being processed. After the retouching has been lined up with the projected image, tape down one edge of the matte acetate sheet so that the retouching can be swung like a page of a book into or out of position. 5. Now make a dodged print by inserting the photographic paper under the matte acetate with the emulsion side facing up. To achieve good contact between the acetate and the paper, place a clean sheet of glass over them. Make the exposure and process the paper as usual.

"you have a glass negative carrier, you cnn 111111111 1I Ililll 1111111111111111111 dodging device. Place the negative in the carrlur 111It!Wild IIVIII 11111111111111111101 Clyou can see the details in the negative. Add dOlllllly wllll IIIIIIII'~"I I, III IIlIld ()I black china marking pencil applied to tho glOIl" UIIIIIIII Ill" 1111'1111 1\ III 1'11111111 with yourfingerto blend it evenly. Now YOll'IIIIIIIIIlv III 111111'"1111 1IIIIIIy prints as you want, and they'll be autornatlcullv tllIlI 11 111\ 11111111111111\ nt thu image where you applied the poncll III 1I,,"!1, I.

dglng with a

la88 Negative Carrier

large areas of black-and-white lives, apply red lipstick to the hIli" I )vor the areas of the negative 111111 Y"II want to hold back or dodge. 11 Ifll1, 1110 lipstick evenly over the I, '"IIIIIOilng it at the edges so that tllrt 1ltlllUlllll won't show in the print. For small areas, you can use a film pencil, such as a Dixon Film Marker (Black 2225) or an All-Stabilo # 8008 Marker, to mark on the glass over the areas that you want to dodge. Mark small dots for a stippled effect over the area to be dodged. [f the negative area to be dodged is very light and needs a lot of dodging, you can use a red or black china marker for the stippling. This technique effectively lightens eyes that are hidden in a shadow, and other very small areas on a negative. 27

DOdgIng with Dy
II I~IIII hold back FtlODSof a blacklid wlllto negatlvo with dye so that IIIIIlln IlIode from that negative are autllllllll/eol/y dodged Since applying lIylhlng directly to a negative takes /lIlIelice and patience and always involves the possibility of ruining the lIogative, consider this method of dodging only if you plan to make many prints from the negative. Dye retouching is usually done with a red dye, such as KODAK Crocein Scarlet. The bright calor is easy to see on the negative. To apply the dye, make a stock solution of KODAK Crocein Scarlet by diluting a level teaSpoonful of the powder in 8 ounces of water. You can Use this stock solution to spot pinholes, to make vignettes, and to opaque backgrounds. For normal retouching, dilute 1 part of the stock solution with 10 parts of water. Apply the diluted solution repeatedly to the base side of the negative with a brush, moistening only the area to be printed lighter, until the density looks about right. Then remove any excess water and leave the lIogative to dry. After making a test print, if you find /11111 you have applied too much dye, 1/1I>l1gethe area with water to reduce "Ill dye slowly, or use a 3 percent 111111/011 of sodium hydrosulfite to re1111 111I raplcly. Sponge the area thorIll/lily wllh water to remove all traces f 11111 'lClC/ium hydrosulfite and stop Ill Il1dlll I"q action. III r 1I111/llololy remove the dye, im11111 IIlIqnlive in a 3 percent so1'1,1111/11111 11ydrosulfite at 680F, filii" 101 I minute in KODAK I In'" dill/on, and hang it up 1111/1/1111 IlIllvlrlos excol/ent f II will 111'111110 plllelice la determine the right amount of dye needed to get tho desired effect.

Dodging with Filters

To increase or decrease the contrast in a black-and-white print made on variable-contrast paper, you can print part of the photograph with one POl YCONTRAST Filter, and then change filters for the area you dodged or the area you want to print in. For example, on page 22, we mentioned printing in a white wedding cake. You might expose the whole print through a No. PC2 filter, and then Use a No. PC1 filter for printing in the cake. In color, you can dodge and print in with Calor compensating filters. For example, if the Calor balance on a print looks good overall, but you want the face of a portrait to be a little less yellow, you can dodge the face with a dodging tool made from a CC05Y or CC10Y filter.

The horse at the top right is too blue when printed with a color balance that gives a pleaSing result on the rest of the print. To improve the color balance of the horse, it was dodged during the overall exposure for the print on the boltom right. Then the horse was prinled in, using a different filter pack While the rest of the print was dodged.

29

1111111111 method of selective filtra111'11 I 1I1I1!llnes dodging and changing Ill" III\0r pack. In the top picture on I'rllI" ;1!1, the horse was in the shade \1101 would have been too blue if 1'IIIIIIId with the same filter pack used "'111111 overall picture. First dodge the IIIIIIHI or the area to be selectively fillilllld during the exposure for the v1I1II11 print. Then change the filter I'rll 1\ III a combination of filters that III \I !I III the dodged area correctly. WIIII" printing this selective area, be 11111 III dodge the rest of the picture. 11\1. oaslest way to do this type of \1,111010 dodging is to make a dodging 111111 11\11of cardboard. Cut the shape I 11111 mea to be dodged out of the IIhll of the cardboard. In the picture 111!l1{)U 29, this cutout would resem101" I1\1) overall shape of the horse. 1\11.tho cutout from the cardboard to \lhll:lJ of wire or a clear plastic strip Ilitll!!!) II for dodging the horse while 11111 IlvlJlnl1 print is receiving its expo\1111 1110n use the remaining large 1'1111:11 ClI cardboard to dodge the rest , 11\11 IIIIllt while the horse is receiving 1111 ".po!1ure,

MASKING
If you plan to make many prints from any black-and-white or oolor negatives that need some contrnnt control, you mlul1t WAnI 10 mnnk IIIIl Ilogative. A I1lfll1l< III fI (1I1ll 1\1(11III llfllldwlched wlth 1\111lI(JlIrlllVIl 1111(1 dllllll llu control woll< wllIlll 11111 1111U!IIIVIJ1'1 being prl!1Iu(\ MfI'11(llItI 111I11111111i1J11 111(1 nooo for (\()(111111(\ 11111\ 11\1111111\1111 If YClII'IIIII',llllI 1111 11111111'\lJI 1111 /l1I(JI~t SOUle(l \11\ 11:.1"1.,111\111111111111 WIH)11 makl11\1 11111'11,'"11111 11111IIH11l fit f/ and Illi'llI 11111 1111111111111 II'l 1111 1\OIll Ih oasouom d 11" 1"111'1111\11 IJoo" CC50B filters OVIII 1111111\1111 'IIIIIIC() when printing coloi 1I111\IIIIVIII, 1I111C1 I(ODAK Pan Masking 111111 III Iq 11)AI( Separation Negative 1'11111.III1III1IV 1111(\ It necessary to uso 111\11111011 dllll',IIY filter with an enlargol Ilqlll 111111 I. VIIIV hllohl.

contrast-Reduction M k to decrease tho contt "., I selected ar

A cOllll11';1 \lldlll 11111\ 11111',1< I" I1 IIlln, low COIIIIII';I, \1111111111' 111I1111pIHOllCY made 110111Ihl! 1I1111,IIIVII bV c;ol1loctprinting. IlIlh 11I11'i!' oIr1dll dllllt1lty to the negativo 111 11\1' Lllllc!IIW nroas, which allows IIw dlllnll \lIIIVIIIII!1ly hidden in dark sI1I11II1WI, III ',llIlw III the final print. You can rnako " 11I11111I!,1 roduction mask by contacl plillillll I your negative onto a piece 01 I- ( J\ 1AK Pan Masking Film 4570 a!; '.tlIlWI1 on page 32. Make a test strip 101 your first exposure and develop 1111luulp in KODAK Developer OK GO dlllllod 1:4 for 4 minutes at 68r. rrom Ihe developed strip, select an exposure that is on the thin side. A properly exposed mask will appear thin and flat in contrast. After you've determined the exposure, make the mask by the same method. 31

III prllll II lIo(JflIIV() nnd musk, place 11111 III1IllI< over tho base side of the III1II11l1vQ and line up the images until l!tuy match; then tape the mask in pluco.' Use a glass negative carrier, and place the negative-mask sandwich with the emulsion side of the negative facing the emulsion of the paper. A properly masked negative will produce a good print with one uniform exposure time. No dodging or printing in will be needed.

Making

Controst-Reductlon

light
, " I

8
I " I I 1 1

Mask

, I

\ \

,
r

,
, ,

Plate Glass' (%" thick)

I
Negative with emulsion side up

I I

I I

KODAK Pan Masking Film with emulsion side up Easel covered with black paper or printing frame

Vll/1I1I!fl/W7JWWIIWOOIOOl0l7l

Area Masks-to control the exposure in the shadow and highlight areas
This is an unsharp mask which will bring the highlights and shadows into printing range so that the whole negative will print well with one exposure time and no additional dodging or printing in. In order to make an unsharp mask, you'll need to use a KODAK Diffusion Sheet (.003-inch). A package of 12 8 x 10-inch KODAK Diffusion Sheets is avai lab le from your photo dealer. Arrange your negative, diffusion sheet, plate glass, and KODAK Pan Masking Film 4570 as illustrated at the right, and make a test strip to determine the exposure. Develop the test strip in KODAK Developer OK-50 diluted 1:4 for 4 minutes at 68F. A plOperly exposed area mask will ap1"1/11 unsharp, thin, and flat in contrast. AIIIII you've determined the exposure, 11,,11,1\ 1110 final mask using the same "1111l1l1l1lOnt of negative, film, diffu11111 '111110t, and glass that you used Iltl Ill" 111111 ntrtp. 11"111"11\1 IIHl mns with the negative "" /11111111111 "iuuulwlch" as described 1.1111'111"' Illlclllcllon Masks,"

Surround the negative with black paper to avoid getting flare from the glass separating the negative from the film.

Making

an Area Mask

light
, ." , ." ." I I I I I

0
1 I I 1

'I

I \'" . \ \'" \ \ ,

L....'.... :.:.. ;.. ..... ..... :.;.;.;.;..',';,;",;,,:,:'

Negative (emulsion up)

Diffusion Sheet

.. 1

I
Plate Glass (%" thick)

I I

I I
rIIII!III(II!IIJmmmmIOOl1/lllll/1

KODAK Pan Masking Film (emulsion up)

Easel covered with black paper or printing frame

The color and detail in the center of the flower is lost in the print at the top right. It would be a simple matter to dodge this area if only a few prints were being made; however, the photographer wanted to use the negative to print greeting cards. Dodging each print would have been very time consuming, so an area mask was made on KODAK Pan Masking Film 4570. The area mask and oolor negative were sandwiched togolhor In reglsler and used to make the greeting cards and the print at the bottom right.

33

Masksoverall contrast

It
I

Ihul1, low lighting ratio, or a combina11011 !l1 II10se factors, you can make a !llId quality print from this negative IJy pllnting it with a contrast-increase 11111';1<. A contrast-increase mask is a IIl1{1l1tive black-and-white mask. To 111111<0 El negative mask from your origi11111 nouatlve, use a reversal film, such 1'1 I(OI)AK High Speed Duplicating I 11111 ;>1)75 or 4575.

the exposure, make the mask using the same procedure. Register the mask on the base side of the original negative and print the negative with the emulsion facing the paper, as usual.

Ing Films with Farmer's

Reducer

Light

~ ,

,8,
I 1\ I ' '

11\Wllltll light: , lIonk dry film for 10 minutes in a tray of water. """Iy KODAK Farmer's Reducer with wet cotton or immerse Illm ln tlnv of reducer solution. Use the reducer full strength for reductnq 111111) negatives; dilute it 1:4 for prints (see p. 38) and local nroru. III It noqatlve. I 11 11 !10for 1 minute in running water. 1I11100e reduction is desired, repeat steps 2 and 3. Ilx lor 5 minutes in an acidic hardening fixer. WIt!lll film for 20 minutes, or use KODAK Hypo Clearlllll AIllJllllo uuluce washing time. uumorse in diluted KODAK PHOTO-FLO Solution 111It!111111(1 10 dry,

r . :',',
I I

Plate Glass (V4" thick)

I Making a contrast-increase mask with a reversal film. Use KODAK High !ipoed Duplicating Film 2575 or 4575 10 make a contrast-increase mask in one step. This is a graphic-arts film, find is available from graphic-arts suppliers. When you're working with It, remember that it is a reversal film, like a slide film. When this film is underexposed, the image looks too dark; when it's overexposed, the image is loo light. You can handle High Speed Iluplicating Film under a 1A or OA 'illfelight filter. Fo make a contrast-increase mask, untact-print your negative onto the 1111111 Speed Duplicating Film (emul11111 10 emulsion) as illustrated above IIUlll Make a test strip to determine Ill" uxposure, and process the film in 1\'11IAI< IIC-11 0 Developer diluted 1:6 1111 .\ mlnutes at 68F with continuous i\jlll1lll1l1. Follow the instructions on IIln 111111 Instruction sheet for the rest , lIil1 processinp steps. IIlId contrast-increase mask will PI'ilI111111110nt completely transparent, 1111 """tll llllOwlng only in the highHulll _Hilt. Alltll' you have determined
Negative (emulsion down)

I I I Ing Films Reducer. This reducer is d In packet form. To prepare it , dissolve and mix as directed 111" lnbot. Store the solutions in 111t11l11l containers until you're ready 1111" 1111) working solution. Make a IIIU solution by mixing equal parts nlullon A and B. Mix only the 11111 you need, because the work1I11111on remains active for only III I() mlnutes. 11 VCIIII negative has been dried, IIllIoloughly in water for at least 11I1111110[1 before beginning the re1\1111 10 reduce an entire negative, 1110 wet negative in a small tray, Ill" working solution of the reI IIVOI the negative, rocking the nunuovsty. The reduction will ,""Idly, so watch the negative Iy "'111Inke it out of the reducer 11 nil you reach the desi red 1111rnductlon. Fix the negative 11*"1Wll!itl it for 20 minutes in IIIU Wrlt",. Put it through KODAK '(I I1 () ~lolution, and hang to

KODAK High Speed Duplicating Film 2575 or 4575 (emulsion up) I I Easel covered with black paper or printing frame

VZZZZZZZZZl11ZZZZZZZZZ1Z7/zZZZZZZZ/ZZ0C02

REDUCING Reducing is a method of lowering the density in a black-and-white negative or print. Reducers, such as KODAK Farmer's Reducer, also lower the overall image contrast on negatives very slightly. You should never use a chemical reducer on calor films and papers because of the complex composition of calor emulsions.
CAUTION: It's easy to ruin a negative by overreducing, and it does take practice to learn just how a particular reducer will react.

We suggest you practice on a spare film before trying to reduce a valuable negative.

To reduco louul 1111111'11)1\1113 negative, dilute \1113 wOIIIII\! 1111111\1011 with water 1:4. Lay Ihu Will 11I1\lrtllvf)Oil sheet of glass 01 \1111111111"'1111111 <11111< room tray. It's vOlY 11111i'IIII 11YI)II put the negnllv() 011rill IIIIII1111111i111 '1Il you can oaullv '''"1 11111 111<1111 \11111 tlll~iflg placo. IloWIlVIII. 11111:111,01"111,,,1 uotutions do 1101',11111' 111111 Ihll oloctrlcal parts of tho 1111111111111\111 Wllh!l clamp piece of cotton, wlfill IIWIlY rtlly water from the area YOII WIIIII ill In<lllcO. If the area Is W 11I111 , JlIII, lip 1110 roducer on a brush, 11111" 1111111 Is large, use a cotton swnl I IIIIII1I1V(Jthe excess reducer (rOII1\1I" illll!.11 or cotton; then apply it with I1 ClIlIlll1uOUS motion over the aron III 1111 roduced. Repeat the procoduru untll you have achieved the CIODIIII<Iciogree of reduction, washlnu 1110IlIOO with wet cotton each tlmo before ol"plying fresh solution, then washing as described above. To stop the reducing action, wash the area several times with wet cotton.

35

Iv. Reduoor. WIII1 KODAK AbIVlllhllillCOI you can reduce dense 11$1111 III n nogativo without having to I"rl)( 11111 1l(3gative. This reducer comes 111n pnste form and is ready to use IIUIII out of the jar. Since Abrasive RecfIH;or works by actually "grinding" IWHY portions of the negative, you uhould try it on scrap negatives until you've learned to control the reduction. Tape your negative to an illuminator so you can see the reduction. Pick up a small amount of the Abrasive Reducer on a tuft of cotton; for a small area, use a cotton swab. Work the reducer into the cotton by rubbing it on a glossy surface such as a piece of glass, and then rub the area of the negative you want to reduce until you see the desired result. Be careful not to overreduce; too little is better than too much. When you're satisfied with the reduction, remove any excess reducer with clean cotton.

Reducing Black-and-White

Prints

Soak dry prints in a tray of water for 10 minutes before applying the reducer. Make a working solution of Farmer's Reducer by mixing small amounts of Solution A and Solution 8 in equal parts. To reduce the overall density of a slightly overexposed print and to clear veiled highlights, soak the print in reducer, diluted 1 :10 with water, for 5 to 10 seconds with continuous agitation. Put the pri nt on the back of a ti Ited tray in the sink, and rinse the print in running water often to check progress of the reduction. Repeat this procedure if you desire further reduction. Rinse the print in running water for 1 minute, fix for 5 minutes in an acidic hardening fixer, wash for 1 hour (you can use KODAK Hypo Clearing Agent and cut down on the washing time), and hang to dry. Some additional density loss may occur in the last fix.

JUIIN PHI!

You can lighten the highlights in prints very effecllvoly wllh I'IIIIAK Farmer's Reducer. The boat in this picture was tocatty 11111.11111 with Farmer's Reducer to brighten it and make It the centor 01 11111111 1 Ighton local areas, such as I 1tllll11ights or shadow areas, Iv 11111 inducer with a damp wad of III 11cotton swab. A 1 :10 dilu"H'II lor the highlights, while a 111111111 can be used for darker 1'1111 11Ihe wet print on the back 11101 rinse the print with run1nl Imtween appl ications of 1t11l,Il. fix, and wash the print 11111111 nbove. IlltcfllLllon may cause a yellow stain on the print, '.11Will I, 11111 reducer into the print fOI fI 1111111 IHlllod while the reducer is IlHJ'.1 11!11v() and then rinse with watoi fllld 1IIIIJlJlly fresh reducer. Warm 10llP IIIIJlors generally reduce more rapidly 11 trill cold-tone papers. If you pion 10 (ono your prints, do any reduction beioro toning. Reduced prints tone difforently than prints that have not been reduced. We don't recommend toning for prints that have been locally reduced.

PETER

CHIESA

110"0'0nn unusual application of overall print reduction. Believe it or not, Ill" plll.10(JlflpI1on the left was planned! The pholographer needed an illustration '''111pllllllt) nnlon entry form, so he took the picture of another photographer "11111111111 IIIIIIII\od with india ink the areas of the print he wanted to reproduce. ,,,,," 1111 _"III,lId 1110 print in a solution of Farmer's Reducer until the photographic w,,,. 11111111 11 cl nwny nnd the only thing left was tho India ink outline. This is 11111",,11111 111\0 clrnwlng If you're an artist with a camera instead of a pen.

37

Ing Prints with Farmer's Reducer

III

wllltu II~Jhl: !iollk dry prinls in a tray of water for 10 minutes before applying 1110 reducer. Moke a working solution of KODAK Farmer's Reducer by mixing Solution A and Solution B in equal parts and then dilute the working solution with water, either 1:10 or 1 :4 (see pages 36 and 37). For reducing overall density, soak the print in the diluted reducer for 5 to 10 seconds with continuous agitation. To brighten local areas, apply reducer with a damp wad of cotton or cotton swab. Put the print on the back of a tilted tray in the sink and rinse with running water to check the progress of the reduction. Repeat steps 3 and 4 if you desire further reduction. Rinse print in running water for 1 minute. Fix for 5 minutes in an acidic hardening fixer. Wash for 1 hour. You can use KODAK Hypo Clearing Agent and cut down the washing time.

3.

4. 5. 6. 7. 8.

INTENSIFICATION
Intensification is a process of strengthening the density and contrast of a photographic image on a black-andwhite film negative or positive. Because of the particular composition of color images, intensification is not possible with color materials. Most methods of chemical intensifying increase the effective density proporuonal to the existing density of the IllIoge; the highlights are intensified IIIOln than the shadows and the overIII contrast of the negative is inI 1I1/1'ill(1.You can do all stages of the 11I1!'"'lllylng process in white light.

Intensifying Black-and-White Negatives and Transparencies

KO OAK Chromium Intensifier increases the density and contrast of blackand-white films, producing a light yellow stain over the negative. If you don't like the results, you can wash the stain off and start over with no damage to the negative. This intensifier comes in packet form, and contains a bleach and a clearing bath. In addition, you'll need a quick-acting, nonstaining developer such as KODAK DEKTOL Developer diluted 1 :3. Follow the instructions on the package for mixing the working solutions. The film must be fixed thoroughly in an acidic hardening fixer and thoroughly washed prior to intensification. If in doubt, refix the film. If the film has been dried previously, soak it in water for at least 10 minutes. Handle the film carefully by the edges, because any fingerprints will be intensified and become very obvious with this process.

1'111 these pictures were madefrom the same roll of film, whloh WII" nt:c:ldontally IIl1dnroxposed becausethe photographer set the wrong ASA IIpllll<lIn his meter. I prints on the left are flat because they were made trorn thlu, IIIHlllloxposed negatives.The prints on the right show a full ronllllll! 1IlI11 because the negatives were intensitlud.

"n

39

Intenl"ylng
III wlllio lIollt:

Black-and-White

Film
Intensifier Bleach Bath until the to 5 minutes at 68F.

1IIII1lorse the film in the Chromium iJlACk image is bleached yellow-3 ;1. I1lnse the film in water.

Improving Composition
&

:3. Immerse the film in the Chromium Intensifier Clearing Bath until the
yellow stain has been removed and a nearly white negative image remains-about 2 minutes at 68F. 1\. Rinse film in water for 30 seconds.

5. Redevelop film in KODAK DEKTOL Developer diluted 1:3 until the

white image is darkened completely. Wash for 10 to 20 minutes in running water. I. Put the film through KODAK PHOTO-FLO Solution and dry.
1.

Appearanc of Prints
11/1// IIroas.

the subject and elimlnl/III/U III/wontod backDiffusion techniques will allow you 10 IWIt/lI/ ttio lines in a //11/1 or create a blurred background for creativo ottnotu,

'''111110 Is a means of isolating

NOTE: No fixing is necessary, and the complete process may be repeated if you desire additional intensification.

MORE INFORMATION
Processing Chemicals and Formulas, KODAK Publication No. J-1, has more information on reducers and intensifiers, and instructions on mixing your own solutions. In addition to the methods mentioned here, there are several different ways of controlling the image through retouching. For information on blackand - white retouching techniques, write for a free copy of KODAK Publication No. 0-10, Retouching Blackand-White Negatives. Send your request to Eastman Kodak Company, Dept. 412L, Rochester, New York 14650. Be sure to ask for the pamphlet by title and code number.

e-

. -r: _,_ #.--:.~..:.. ",

~.

... ;
'

...

iiot'-:--:..:.....;.,~..,..-;_.

......_, .. - .. _--

..

~I

~z.~;.

~~~~~:~
11III1I1Y want

;-~

~~.DARnAUA "AN

PAUL.

KUZNIAR

to deliberately distort a photograph during printing for creative l1f1octs. The technique used for this picture is described on page 50.

41

1IIItl I hnplor will help you add those 1111 tuuchos that can turn good pieItllIlIl 11110 great ones. You'll learn how III tuulnnto or diffuse a background, lid IIIIW 10 soften facial lines for flat1t.1I11l1 pOltraits. You'll also learn dark1111 uu.lmlques for correcting distor111111 1'IIIIlilcing distortion for creative 11111 1'1,flllcl creating moving subjects.

VIGN!TTING
111111111\1 Is a printing technique used lillllllfllo distracting or unwanted l'IIII1I"Id. This technique is primartltlllll tor enlargements of people I lI't, popular for printing high-key IInll'l which are made up mostly of hi 111111111. 11UIII easily vignette a print by 1'''"1111 the image from the nega111111111111 a hole in an opaque cardIII I;llt the hole in the cardboard 11111 uhape as the area you want 11111 1110hole should be the size I will ulvo you the effect you want "yelll holo the cardboard halfway 11 1110enlarger lens and the I (:111the edges of the hole in a 1111 pnttern so that the image IlIclllfllly into the white paper. flul 11 Ill) , keep the vignetter in 1IC1II'1 motion during the print

t
~':I
~

NEJL

MONTANUS

t
..."~,..,,,

With vignetting, you can turn a backyard snapshot into a portrait. Vignetting is very helpful for Isolating a subject and eliminating busy, unwanted areas in a photograph.

43

veral Images tt1ng

I IIAII lIRO the vignetting technique 1111111 portraits from more than one IIvn on a single sheet of enlarg11111'"1.Assume you want to pri nt III \11100 negatives. Decide where 11WRI1I onch image to appear on the 11'11111, and draw circles on a sheet 'wl1l1f1 pnper on the enlarger easel to IIIAltI 1110 location of each image. I Il1n first negative in the enlarger , Adlll!!1 it so that the image you 1I fllln n circle. Remove the white I ul paper and make your expoInlll for the first negative. It isn't ".""'U1I1fY to use 'the vignetting tech\l1!!fill your exposure test. Now, us\1111vignetting technique, make flltll exposure on the enlarging I Il1l1t will be your final print. (It's ul kloa to put a small "X" in one nu on the back of the enlarging I III help keep it properly oriI ) Aftor you make the exposure, Il1n paper with the circles on it 111the easel and adjust the ennd oasel position for the secploturo. Follow the same proceyou did for the first negative. you'vo exposed the second negfollow this same procedure for lhlrd negative. Then, process the

diffusion is used to subdue blemishes and wrinkles in the subject's face or to soften the effect of harsh lighting or coarse retouching. 81111111 diffusion slrnulatos Iho effocl of u nott-tocus carnorn IOI1D.

Diffusing tho Wholo Print Area

Diffu!lll1\1 lI11vlI 1111 11111 /lvllIl,II)lo from you: pl\(1111 11111111111, III transpruunl IIlll111l1vII lillIlIVI) ClI 111 transprunnl WIII!'I"" 111,,"1 101 nom pacl<II(1IH/ 1111111 1lIlIldltol'. Ilold 1110dlftuslon tilllllll 1I'ld", 1111111111010111(1 Ions durlnq 11111 11:-1111,,111", IIl1d move It back and fOllllllllilllVIIIIIIII1Y Imperfections from prll1llll1l',ll;lll'ly 11111110 print. This method PIlld1l1 1I11lilllllil diffusion, and you can 1111,11111 111 11 III 111110W11 of diffusion by wrllll\IIIIIIIIIII 1IIIIIoilnl you are projecting \t1l1l111111 '(11111nn nlno use a piece of gray III II\.II I IIVIIlIl 'ilocking as a dittusei. ~;II"I'" I1 .11111'\11 11110le in a piece of Ccll<llllllltllllllilili'1J I1 In place. The arnount ol dlllll'''"II\!, 1:011 trolled by the distnnco 11111111 dlllll'lll1~J material from tho lnru., Ill" 1111111111 111 material is to tho lOll!" Ill" WIJ,,'or 1110 diffusion effect will 1111 Take care nol III 'IVIII<llllIl80 the print, or the hiOllll!llilll will 1)0 degraded. Becauso dlllll'lllIll tends to reduce print contuv.t, Y"II will probably want to US(] " 1111\11111 contrast grade of paper thnn VOII'd 11!10 to make an undiffused pi illl I III Iho most pleasing effect, eliltll'!lI 1110Image for part of the eXpO!,11I1t Ilmo-try onethird-and givo till) IIl1l1fllning exposure without dlffll!lI()II.

I '" UIION
Illusion, you can soften or blur \Inns In an image. By diffusing I"clod image when exposing "Hooment, you're actually Ino nome of the light from the Inlo the highlights. In pielography, diffusion is most 10 produce a hazy effect to 11oarly-morning scene. ParlOll can also be used to blend IIIlharound areas. In portraiture,

BARBARA

JEAN

1111 can create diffusion so subtle that the viewer is not aware of it, or you might W'III' to make it Obvious for a creative effect. This print was enlarged through a .'lIlIlt of olass which had petroleum jelly smeared on it except for one small, ,h1l11 111111\. The glass was moved up and down between the enlarger lens and 11111 111'1""!llIrlng the exposure, and the clear area was centered over one flower " 11 wllllld ha Sharper and stand out. The color In the center of the flower WII" 1I!lIIad later with transparent dye (descrlbod on page 131).

45

A
11 III,,"d
/1111111 11I111
III

IO(j(Jl/wl rhe

troublesome of a backeasiest of way pejelly of the edges show negative

dliillftcllllO

areas a glass amount

by cl/llus/on.
1I1ir. Is with

IIlm
1101"11111

nnd a small
Jelly. Apply of the carrier

the petroleum upper glass the won't

1111 1110 top

lIoontlve

over any area that you in. Feather they

wnn:
111the In the Iroleum 'lIves vides Iroleum

to blend print. carrier jelly better more jelly

of Ihe smear

so that The and you results diffusion.

amount the use.

of diffusion of the glass of peglass it procan with also peYou can diffuse selected areas of the print by using petroleum jelly smeared on a sheet of glass. Feather the edges of the petroleum jelly so that the diffused area will blend into the areas that are being printed straight. Hold the glass between the enlarger lens and the paper and move it slightly during the exposure. If you have a large negative and a glass negative carrier, you may want to put the petroleum jelly right on the glass carrier. Thicker

depends on the thickness

amount

because You of interest

nurround a center
Ing type of vignette.

and produce

an interest-

DISTORTION
You can correct when parallel at an angle prove the distortion lines caused are photographed to be convergto imhave who

and appear of

The straight print above had a very busy background which Ill" "III.I"Illltl.III'1 wnnted to subdue without eliminating the surroundings complululv 1111' Id. lilll below was printed through a sheet of glass with p011Cl11I1I1I1 I' IIv moared on it. A clear area was left in the center of the glass. IllIlllILl ,"1111111", the photographer centered the clear area over the main blol"III'1 11111 moved the glass up and down slightly.

ing. You can also use distortion pictures For short can people from stout from create You IJOen photographed IIlO angle. rppears Illllng and

an unflatterif a person because too a taller may of and also efof high an

example,

photographed

111\110, you

,1I111111or appearance. lit! 10 use distortion

for creative an effect

I",
111

I'. by greatly plt:llIre f'III""1

exaggerating

a part

or by adding 10 the picture.

Here's the petroleum jelly on glass technique again-easy to do in black-and-white or color.

47

vergence Controls
WIIIIII you take a picture with your 11 III III pointed up or down, vertical 11111111 III the picture appear to be con'Ultl!}. You can correct for this when 111'111 ol1larging. First, tilt the enlarger III IIY lifting up one edge until the 11I1:/l1 lines in the projected image ppllllr parallel. Then place something IIldlll that edge to hold the easel in 1111:11 locus the image at a point onehlld ol Ihe way in from the high edge. II IIllly be able to keep the image in 1111 over the entire picture area by 11111 11small lens opening. However, ,11.,unsel is tilted at a considerable 11110, you must ti It the negative carI II1 your enlarger. (You won't be hln III correct for severe converging ) Tilt the negative carrier until the on the easel appears sharp. lncldontally, tilting the enlarger eaI ICI correct for converging vertical will probably give a "slimming" rei!: I 10 your subject. When the easel IIIIIHI, the proportions on the print 11/11 those in the original scene only 11 11\0 enlarger lens-ta-negative hi 11 I:11Is equal to the camera lensIllm distance when the picture was III ~>ll1cethe enlarger lens is likely "MVII npproxi mately the same focal III II!; Ihe camera lens, the enlarg11I1!!i to negative distance is likely Ill' IlllHltor than the camera lens-to1IIIIIII1I1Ce(due to the shorter "subI /llIllInce" involved in enlarging). 11111111 ousel tilted, you'll get a greatII\r1\Jlllllcation of height than width, 111111111 III the slimming effect. This IIII'"II"llllrroct can be helpful in mak1111\11 IIfllIering pictures of people '''ltY hnve been photographed '" III'qlo that makes them ap111111 find stout.

,~ I

\'

1\.

II

l,

Il~;.;..

~!~::..

1.(::/
c.

1:1
Means for correctlnu clude:

'1IIIVI1IUlflCl lines in-

BARBARA

JEAN

You can create a more subtle type of diffusion by painting a sheet of glass with Clear nail polish. Leave a clear area for centering the glass over the area IIf Ihe print that you want to look the sharpest. Move the glass slightly during printing for an even diffusion. One advantage of using nail polish instead of petroleum jelly is that it's not as messy. and once you've painted the glass with polish it will last a long time.

A. Fixed easel bul 1111,"1 nnlurqor. The lens is tilted to make 11111 IlIIlIUn plane uniformly sharp even at a 1(\1 flU InlHI nporture. B. Tilted negatlvo IIl1d IlIlu(1 oasel. Sharpness over the Imago arnn In provided by tilting the negative In tho Imllcnted direction. C. Fixed negative but tlltod Ions and easel. Notice that this condition Is similar to A except that the enlarger is upright. D. Fixed negative and lens but tilted easel. In this case the depth of focus is quite shallow and lens must be well stopped down.

49

_ the easel. Ever think of addIhlre! dimension-movement-to 1"1111 III the darkroom? You can add 11111111 by putting your easel on r"1 dowels or round pencils which " ,""111) It easy to move during the 1"11111/11. If you allow the print to reIII hllll for half the exposure time 1 lilnn move it during the second 1101 1110exposure, you'll produce a 1ft 111III[JOwith horizontal streaks, It rnnkes the subject look as

though it was traveling very fast. This lechnique is most effective with a subject that would normally be moving, such as a racing car or El running figuro. You ann nlso produce (l fooling of rnovomont hv 1l1f1I<II1CJ lIl1ll1lplu oxposuros 011110llfllllCl 1l1l1l1(J( I nnd movlnq tho O(IIIUIIHllwIlIlIIIJXIJ(JlllIlIllI, 11'0best to solno: I1 VIIlY 1lllllldlllllllllIJIJlloI 1111s technlquu, jlII"I',,""y wllll 11 plnln backqrorun] ("01) pflll" HO)

Notice how the buildings lean in on the print on the left. When the picture on the right was printed, the easel was tilted to correct the converging lines.

BARBARA

JEAN

Dlllorllon

for Creative Effects

Ihe above method of conoontrol on some subjects, I'n" (~Ioote very dramatic picr uxnmplo, in a picture of a hl/l! lino his hand for a hand'" 1:/111 1111 the easel to make 1 111111\ VIII Y Inrge. Exporlment ",,!IIIII'I"" IIlld sec whnr now

pictures you can create with negatives you've printed "straight" before. Another way you can distort the image for creative effects is to bend the paper before exposure. Bend the paper toward the base side (convex bend) to stretch out the image; bend toward the emulsion (concave bend) to condense and shorten the image.

"'lOnln this "exploding" view of the Empire State Building, the photographer 1111,,111 nn exposure on the paper, and then moved the enlarger up and made ""'hnr oxposure. He repeated this many times without moving the paper, but always dodging the main building. Then he dodged the rest of the paper while printing in the building. 51

t'

I "'M I 111111 print is mado Irom a black-and-white high-contrast negative, Three l"I~llltlll wuro mado, onoh through a different color filter. After each exposure

PAUL

KUZNIAR

III

11111 nose I was moved slightly to give the feeling of movement in the runners. 1i1"llIllIllIfmation on printing black-and-white negatives on col or paper, turn to page 129.

53

It's also possible to incorporate a feeling of movement III 1111' I 111111 .lId,," you create from high-contrast images. This negative WflH(,oplllol 11.'1111"" nlcctronic flash (refer to page 253). Three exposures wer o IIIIId,. IIIIlIlIUll ynllnw, green, and red filters, and the film was moved slightly altu: I"" 11 ,"".11111

1111I" 1111 was also made from a black-and-white high-contrast negative, and it was "ilII'." III 1110 sarno manner as the runners on page 53. The bottom area was masked out 1'1"" "llIok pnpor while the bird was exposed through the filters; then the bird was "11I"km' wl1l1paper while the bottom half of the negative was exposed to wllll" 1111111 10produce 1110 black In the print. There are other variations on this Subject on pages 150 and 194. 11IIII1U IIIlrlng the exposure wasn't sufficient to give the feeling of movement, so the IIIIIIIoUI"phor placed the easel on dowels and moved it while exposing the print.

55

IgNew
es from Old 'atives & Slides
Wny,'1
of creating new images from existing ones. Texture screens add an vmut! toxture to the photograph. Combination printing involves using two or II/11ll1l1ogatives to make one print so that you can add clouds to a bare sky or IJIIIIIIIIO Images for creative effects.

Ihls is a combination print and a combination of techniques. The girl was photographed lying down so her hair could be spread out. That negative was prlntod with a mask so that only her head and shoulders, but not her hair, WClru oxposed. Then a second mask was made which exposed only her hair, 1I11!l tl1l1tmask was printed with a negative of leaves. During development, Ill flllllt WI\Ogiven the Sabatt/er Effect (described on page 195) after one minute IlIlItltl c10llsltyto the background, which had been covered by the masks.

If you bracket your exposure when taking pictures, don't throwaway those !lnlltly overexposed slides. You may be able to create a picture lIke 111/8 one which was made by registering two "thin" transparencies of the same oubject and then rotating them Slightly until a moire pattern formed.

57

Texture screens like this sunburst screen can create dramatic impact and lead the viewer's attention to the center of interest.

This combination print was conceived in an airport. The photographer took a picture of the tunnel in the , WA Building at Kennedy Alrport, While waiting for llill pIIIMO, ho saw in a 111111111/1110 1\i81 tho Image 111111 110IHullloti for 11oontor IIIIIIIIIIIIhl 111I1I1I1t1() El I Ill'''' Ill' 11111111 III 1111I 1llIlun:11I1I /,11111111111111111011 111111111111111111111111111111 111,,11 I 1I111111~1 111111 111101 /,1111111111111111111111111 plollll(" 1111 1111111111111111111011 oontrnat I11111 11 IIvlI I11111111111111 Oil th 111111 ~III"IIIII PIIIHlI.

VUIII;"" t IllIll" 111111111 11 11 cl mynllllY III V"III 11/111111 grnphll wllll 111111"'1111111111 prlntlnu

CAROLE

G.

HONIGSFfI.lI

IIll. In n oomblnation print made with a texture screen, The plane was printed 1111111 Elhigh-contrast negative, and then that negative was removed from Ill" 1Il1ll1lfjor, The background was printed from a film sandwich of a moire /1111111111 whloh produced tho circle design, and a bromoil texture screen which croatod the pattern in the circles.

59

You can add a new dimension to your blacK-and-white and color prints with texture screens. This print was made with a Mona Lisa texture screen in contact with the paper.

Most advanced darkroom enthusiasts have enough old negatives and slides to keep them busy printing in the darkroom for several years. But you've already printed all those pictures, you say? You may have printed them straight, but after you read this chapter, you'll want to get them out and use them again to create new pictures.

Commercially Made Texture Screens

Commercial texture screens come in two types; small screens which are laid over the negative and printed with it, and large screens which are printed in contact with the paper.' Small screens give good results and they are less expensive than large screens. Small screens are easier to use because there is much less area to clean, and it's easy to keep them in complete contact with the negative by using a glass negative carrier. Place the emulsion of the texture screen next to the emulsion of your negative in a glass negative carrier, and print them as one negative.
"Texture screens are available from photu dealers. Some mail-order companies Alnll supply them including these: Spiratone, 1111 135-06 Norlhern Boulevard, Flushing. Now York 11354; and Texturefects, 160 Wycliff WilY Magalia, California 95954. They will senil I1 free pamphlet showing the various lexlllll available.

TEXTURE

SCREENS

You can make some interesting and unusual enlargements by printing through a "texture screen," which is a device that gives the print a textured appearance. The texture itself can be prepared in 0 variety of ways using cloth, wire, "lass, net, plastic, or most any translucont material with a grained appearanco. Some texture screens are cornmorclolly available in film sheets; othrs nro good do-it-yourself projects.

A color print made with a grain texture screen placod directly on the paper during printing.

60

61

Print from a Mona Usa texture screen alone.

),

~ ~
Y'~-'
1

'<

A color print made with an etch texture screen placed directly on the paper during printing.

,~

: .cilJj~DH1.'"6lili

Print from canvas texture screen alone.

63

LYNN

BROWN

A black-and-white print showing the effects of a mezzotint texture screen. 1\ color print made with a canvas texture screen on the paper during tile exposure.

65

PAULA

LYONS

DONALD

J.

MAGGIO

A plooo of textured glass placed on the paper added the texture to this scene. The paper was prefogged slightly to add to the mood.

110111 prlnta were mado with a grain texture screen on the paper during tiHl printing, Tho bottom print was jiggled slightly during the oxponuro to add the feeling of movement.

67

1llId III tuxturo screen. dlldlllllll IIIHI printing in, YIill will/le I when printing a IlvlI wllhou: It toxture screen. A tllln fWllltlll IIHly cause a slight loss ,,'1111 contrnsr, so you may want to t jlltpor of a higher contrast grade 1111111 you would select if printing the flllllrttlvo normally. 111108texture screens are used on lIltnct with the emulsion of the en1(1I(llng paper on the easel. You may need to place a sheet of clear glass over the texture screen to hold it in contact with the paper. Otherwise you could get a blurred texture effect where the screen isn't in good contact with the paper. You can keep the -icreen in position during all or part of the exposure, depending on the degree of effect you want. If you want the screen in place for only part of the exposu re, divide the total exposure time in parts so that you can remove the screen when the enlarger is off. Make sure you don't move the paper between exposures.

Making Your Own Texture Screens

You can make a simple texture screen by stretching a sheer cloth tautly over 11frame that can be placed over your nnlarqer easel. The cloth should be II1 contact with the paper. Flocked nyIIII1 cloth, which has designs woven 111111 It, will add an overall texture and 11'111 Iuproduce a cloth design in white III ylIlIl print. Your local yard-goods If"" will have a variety of materials 111111 Y"II can use for texture screens. 11 V( III wnnt the design to print black, 1I!i1l t print the flocked nylon onto a 1'1,,(t'I 01 I<ODALlTH Ortho Film, Type IInl ptll1t1ng the original negative, flllllllVII till) noriattve and then print the

high-contrast negative texture screen onto the same sheet of paper. You can easily make other varieties of texture screens by photographing textured surfaces. For example, us strong sidelighting to bring out tho texture of a material such as charcoaltype drawing paper, or a sheet of un printed KODAK EKTALURE Paper, X surface. Take a close-up picture 01 this and you can use the negative as El texture screen. Put the texture screen in the negative carrier together with the negative you are goi ng to enlarge, and print them both at the same time. This procedure gives your print Cl much more pronounced texture effect than a contact texture screen. A sheet of clear plastic with a tex tured surface makes a good texture screen. A plastic-supply company will have a variety of textures to choos from, and they'it cut the plastic to th proper size to fit your easel. Simply place the plastic over your enlargino paper, with the textured side towarel the lens and the flat side on the pa per, and print through it. Build a dot-type texture right into your negative by printing a slide onto KODALlTH AUTOSCREEN Ortho Film 2563. This is a graphic-arts film anci it's available from a graphic-arts sup plier. * As the name indicates, this fllrn has a texture screen built right into it. Develop the film in KODALlTII Super RT Developer (also avallablo from graphic-arts dealers). Since YOllI original was a slide, you'll get 11 negative image on the KODALlll1 AUTOSCREEN Film, and you can prlm this film without going through anv other intermediate steps.

This homemade texture screen is a piece of clear texturocl ,,11,"\10) which was placed on the paper during the exposure. Plastic """,,11111 have a large variety of textures to choose from.

~. .,. $,~;~::.?r~ ~ '~"1:.":

./

Listed under Printing Supplies in the yollll pages of your telephone book.

A print made from a high-contrast negative with a piece of clear textured plastic on the paper during the exposure .

69

Here's a print made from a texturo scroon alone. The texture scroun wos made by contacr-nrtnuos a piece of IOnAOIOIlI11rll) tissue on a l1100tnf 111"IH)OlltlflSt film.

I
1\

'j

JOHN

FlSII

This texture screen is built right into the negative, which is on KODALlTH AUTOSCREEN Ortho Film 2563.

The lens-cleaning tissue texture soreen was sandwiched with a col or nogatlve and they woro onlorgod together to proctuoo this calor print.

BARBAAA

H.ut

An onsy way to add a texture to your calor pictures is with a montage. 11111 pllotnorapher sandwiched a calor slide of a wooden sidewalk with a slide of pink dnlales. and then had an internegative made. The internegative IIIIA tllo texture built In, and it's easy to print because you only have to hondle (and clean) one piece of film.

71

Ing Clouds to a Sky

,,11111 rt cloud negative, making sure 111111 1110direction of the lighting on IIHI I louds is the same as the direc111)11 01 tho lighting on the subject in ylllll lomground negative. Often you 1'/111 IIIV(J('sethe cloud negative, if nec1I'ltIlIIY, In order to make the lighting in 11111 Iwo negatives correspond. Then '1/111 Ilocl as follows:

I 'le dormine correct exposure for each 1I11111111ve with the enlarger set at the dUlllOe of magnification you're going 10 use. Record the enlarger position (degree of magnification) and the correct exposure for each negative.
. Expose the foreground area of the print and, at the same time, use your hand or a card (cut to the contour of 1110sky) to hold back light from the !1J<y area within about one inch of the horizon and any foreground buildings 01 Irees that project into the sky. Hold your hand or the card a few inches ibove the easel, and keep it moving. l hls leaves a gray-tone margin into wl "ch you can blend the clouds. I lluplace the foreground negative Wllllllio cloud negative. Print the cloud 1I1I(llIllvD and, at the same time, use Ill" hnnd or a card cut to the contour III 11111 loreground (use the other half tllIllI nloce you used to hold back the I,V) III hold back light from the previIIlIly nxposed foreground area. Hold [11 hnntl or the card a few inches .IHIVI1 11111 oasel, and keep it moving i tllll oclges of the two images 1@()(1l1lly.

Clouds can add drama and interest in a photograph, and you can add clouds to your prints in the darkroom. When adding clouds, it's important to make sure thal the direction of the light on the clouds and the foreground is the same, or the picture won't look natural. The clouds were added to this print in the darkroom, and then the print was toned with KODAK Blue Toner (described on page 119). A dodging tool was cut out of black cardboard to prevent the lighthouse from receiving any additional exposure while the cloud negative was printed.

""""d

1""'

(lood photographers usually try to avoid getting a white "bald" sky in their
1'111111108, but you can't control the weather conditions. If you see a good picture
lIt

1111 one slide and the clouds and sun are on another. After sandwiching

wlllt
III

11

IIlIlko

hold sky, take it anyway. You can fill in that empty sky later in the darkroom n elldo montage. This slide is a montage. The birds, waves, and rocks

IhlllR together, you can have a color internegative made by your photoflnisher,
and then you can make a print in black-and-white or color.

75

lnut wily to obtain a double 111/1 print Is to make a montage PIIIIIIIII two or more slides together, n hnvo an internegative made from tl1tl montage. Because slides are posi!lVD Images, they allow you to see exlC)tly what the combination will look IIko before you go into the darkroom. 1'I1lstechnique makes it easy to make oombinations in calor without having to worry about printing the correct color balance of two separate color 1I(J~atives. All you have to do is make I "straight" print from the internegaIIvo because the images will be combined on it. If you have problems with Newton's rings in your slides, dust the film with a spray of fine talc. Brush off the excess talc and then mount the slides

together. Fine talc is available from graphic-arts suppliers. Combination printing from separato negatives requires that you visualiz the combined images before you go into the darkroom so that you know where to begin when you get there. The best candidates for combination printing include at least one negativ with a large area of blank space. This space is where the image of the second negative goes during the printing. If the blank space in the negative in a clear area and if both negatives ar the same size, you may be able to sandwich the negatives together in Cl glass negative carrier and print them both at once. If the blank space in the negative !. dark, or if the images on the two nega tives need to be enlarged by differenl degrees, you'll have to print them sep arately. Follow this procedure. --'.>

ombination Printing from Separate Negatives

Put the negative with the blank space in the enlarger and compose the picture on the easel. Put a white sheet of paper in the easol and ketch the boundaries of the blank space. Remove the sketch. Make a test strip to determine the exposure of this negatlvo, note the position of the enlarger and the exposure, and then remove the negative. :\, Put the second negative in the enlarger and place the sketch Oil lI1 asel. Compose this negative in the area indicated on 11\0nkutch. Remove the sketch and make a test strip. Be sure to record Ill! position of the enlarger and the exposure. ~. Print the second negative onto a fresh sheet of PA[lOI. I )o(IU() nny areas of the negative that might overlap and print 11\10 1lI1l1I!lof th first negative. Mark the paper so that you can plaoo It IHlc:I<Ir1III easel in the same position, and put it in a Iight1l0111 II()x Ilornov the negative. h. Place the first negative back in the enlarger in IIHlllllllll1 poaltlon that you used for step 1. You can use the sketch to twljl YOII ruoompose the picture. Place the exposed paper back on \1101III'IId 111111\ original position and pri nt the fi rst negative. If the blank flIlJ(I Will ill 11111 n out black, dodge it during this exposure.

(I. Process the paper in the normal way.

The print of the man IlIklllll IlIl1vMalllokod depth. so the photOI1II1I'III" IIlIuIIuml uorno leaves on a white bnoklJlllllllllllll11 pllulOgraphed them. Then \ill 1'111111111 11111 Iwu negatives together 10 1""'111111" pI1/1I winning print.

77

11 111110 1I11llply print 11 111111 1I111l1J1 ClI paper

two and

im-

if you show to a

1 1111$

IIIIIII/UII

tu overlap

!lUll 111111 unothor,

'11/1/ ullhcuottec
lilt. IlIldl unnot. us a flock

subjects of birds

in front onto a Type the

RICIlARO rELOMAN

print the silhouette Ortho be clear and black information Film, should

tlnMt ()I KODALlTH

1111lIllm Ilhlllct

where

appears

in all other on using

1111I111. (For more IIILIII contrast

films,

refer to page negative, of the solid dodging

150.)
and highit in the

l 'rlnt
II!lJlI

your the

original

print

high-contrast is any

negative. black,

This was a plonnorl cometnanon print. The 11911lil1(1 on tllO portrnt; made tho foco 1II(IuInlo tno background 111111 (ltlllltOti Cl muddy image. Tho !IIOOWill! prlntod 10 El high 00111111111, 111111 uio nogalivo of craokorl 1111111 IIIIIIud tho mlddlo tones Cl!! woll "" 11111 texture.

1IIH1ttllSe the background 1IIIIIInst dOOll not hlwl<ground 1110black protecting overprinting. negative require

area during background the original

the exposure. acts as a mask, image from any

f-~j
'''''1111' I<IIIIT7HR

ROBERT

KRETZER

Once you've tried combination printing, you'll probably find yourself taking some pictures with this technique in mind. The photographer knew that the picture of the hockey players needed a foreground, but there just wasn't a suitable one around. He took the picture anyway and saved it. Later he found just the right foreground and photographed it. Then he made a IIngative on a high-contrast film to increase the contrast and eliminate the details in thn area where the hockey players were to !In printed. The negatives were then printed nno at a time to create the final picture.

~-

79

" \A-t~\ ,

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."

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RUDY PAHOYO

This multiple- exposure print was produced In the darkroom from a KODAK PLUS-X Film negative of a single soaring hanglider. The negative was exposed onto KODALlTH ORTHO Film, Type 3. This image was then exposed by uocessively lowering the enlarger head and shortening the exposure time as the sel with the photographic paper was moved according to a sketched overlay.

A straight print was made from the negative containing the window. No dodging was necessary, because the sky was clear. Then the photographer prlntod the girl's face in the window area, and used a vignetter during the exposure to allow only the head area to print.

81

The model woarlng black was photogrnphod four times against n blook background so that tile only donslty rooordod In the nogntlvoo wns hor faco and hnlr, Tho four negatlvos woro sandwlcnoo logothor and prlntod to create this composition.

The picture of the water and rocks was printed first and the area where the face was to appear was dodged during the exposure. Then the girl's face was printed and everything but her face and hair were dodged during the exposure.

Iloth Images were printed from high-contrast negatives and no dodging

wnn necessary. The negative with the smokestacks was given a long exposure
to produce a black tone; then the negative with the cars was given a short exposure to produce a gray tone.

83

LESLlE

FRIED

Although this looks like a combination print, it is not. Actually, it is a print made lrom a paper negative. A slide was printed on color paper and the paper was processed normally. While the paper was wet, it was contact-printed onto another sheet of color paper and exposed to liltered light (lilter pack 01 20M BOY). Then the second print was processed normally.

A combination print made lrom a color negative. The color negatlvu Wllft prlntod, nnd then a tone-line high-contrast negative was printed in reglstor 10produce the black tones. The tone-line process is described on POgUlIl:l,

SHELDON

JACOBVIT('II

hi. In It oomblnatlon print with a photogram. (Making photograms is explained u" 11:1) The only part 0.1the photo made from a negative is the two people 1II111111Uunnds. Blaok pnpor letters 10r the word "LOVE" were laid on the I.'UIIIU pnper, and tho photographer placed his head directly on the paper wlllln no made thu exposure to produce the outline 01the lace.

"\In

85

"'t~,
~,

~t~

.....
'.'.,,:.

.. '.

~ ..'
!"

The color negative was contact-printed onto a high-contrast film; then the color negative and the high-contrast positive were sandwiched together in register and printed.

,.\~
l.f '

Selective development is another way you can create new pictures in the darkroom, and that's how this print was made. The photographer projected the image on a piece of heavy paper and traced the face. The face area was cut out to create a mask. After making an exposure on a piece of enlarging paper, she left the paper in place in the easel and swung the red filter over the enlarger lens so she could turn on the enlarger light and see the image. Using a cotton swab saturated with developer, she developed the important facial details (eyes, nose, and mouth) by swabbing them with developer. After the facial areas were developed to her satisfaction, she placed the paper facial mask over the face and sprayed the rest of the print with developer in a plastic squeeze bottle. The print was fixed and washed normally.

OUNGOR

H.

OEM1REZER

87

Jt
1

it
rlUNl.lI1"

.1
I \

w.

COWAN

Another way of combining images is with a collage. Maku YOIII 1'IIIIlII III lI1 normal way, and then cut them up and mount them in an unununl 11I11111I1Hlllol1. The picture above is from 5 separate negatives; tho ClIlllllltlllw is a combination of two photographs.

..

.
,~
'\~

~:

"i
I wo are just some of the combinations t~at this photographer was able to create
by using the same subject In many different ways. The negatives were on ~ high-contrast film s.o it was easy to mask out unwanted areas with opaque or ItlnOk tape. For more tnformatlon on usrnq high-contrast films, turn to page 150.

89

Printing Without Negatives

A photogram is a shadow picture made in the darkroom A paper negative is an image recorded on photographic
paper is used as a negative prints without to make another negatives. print. Printing way of making without a camera. paper; then that slides is another

A photogram on KODAK POl YCONTRAST Rapid Paper. The dried weeds were not pressed flat-they were just laid on the paper and the paper was exposed. The butterfly is a costume jewelry pin.

-.---.".1 ._1".-1 ,11 . '" '1'.1

I

lengths of string atrnlohod across the paper cronlnd the fence, and then Iho photographer placed his hands 011 uio paper during the exposum.

,.,~
,

.1
111 .1
KRETZER

BARBARA

JEAN

1\ 1'I!IIIIIUlnm modo 011 I(ODAK RESISTO Paper and hand-colored will! I/lIllnpOlflllt wntur oolors. For information on coloring 1l11l0k'IIIlIIwhlto prints, turn to page 131.

~.~

ROBERT

91

PHOTOGRAMS Black-and-White Photograms Color Photograms

You can make color phoroorarns on color paper, and negativo or roversal color film. If your darkroom Includes facilitlos fOI calor [,)r11111110, you can make colo: plWlolJl rI III I) III 1110same way that you 111111<0 11111(:1< (l11e!wl1lt ones. Of courno 10 I ucmcl rho (JOIOI, you'll neod 10 uno 1\ oolor pllpOI fll1cJ process it In ccloi chomlcnln. If you do not have faclllllos fOI col or printing, make your colo: pl1010 grams by using a color reversal film, such as KODAK EKTACHROME Film (Process E-6). We suggest a reversal film because you can see the final result as soon as the fi Im has been processed; then you can easily copy the photograms onto 35 mm film, For the greatest flexibility in composition, use 8 x 1O-inch sheet film. Put the film in the enlarger easel just as you would a sheet of paper. With the enlarger head about 3 feet from the baseboard, try an exposure of 5 seconds at f/5.6. For your first photograms, rnako on exposure series to determino the best exposure for your equipment. You can have the EKTACHROME 1~lIm processed by a photofinishor or custom photofinishing laboratory, or do I1yourself using the KODAK EKTACllnOME Film Processing Kit, Procoss E-6. To reduce 8 x to-tncf films to a usable format, copy tiro pl1otograms onto your favorite color-sllde film. A copying technique is Illustrated on page 253. With this mothoc you can even combine more than one image to create a never-ending variety of pictures from photograms. Photcqrarns are photoqraphs made without a camera. A photogram is a nhadowqrarn made in the darkroom hy placing opaque objects on a sheet of photographic paper, exposing the paper to light, and then processing It. I he resulting print will have a dark iJockground and a silhouette of the objects in white. By adjusting the exposure. you can create a black backuround or any shade of gray. You can also make a photogram by placing a flat object in the negative carrier of the enlarger and projecting II onto the paper. A glass negative carrier is necessary to hold the sub[net in a flat plane. The best subjects lor this type of photogram are flat nalure objects, such as leaves, feathers, Irnnsparent insect wings, weeds, and urasses. Since a negative is not used, lmaqe degradation is held to a minimum and enlargements produced by thls method will be extremely sharp. You can make more sophisticated photcqrarns by arranging objects on I sheet of glass suspended above 1110paper to obtain a softened or blurred outline. By combining this lochnique with objects placed directlyon the paper, you can simultanenusly produce sharp and blurred imuos. You can also make multiple exposures and add or remove objects ICl obtain overlapping silhouettes in llltorent shades of gray. Photograms 1:1111 be printed with negatives, too. IlI1ply place H(l~ objects on the paPili, place your negative in the en1111110r, and print them both at the 11110 time.

(
,/

.-.
~ ~_.~." i';
.

'-:JT

.-.--..",.'. "'--''--"'T
\
01ANE CARLSON

\ It~'; ~-t

~-\

Combining translucent and opaque objects is effective in a photogram.

A three-dimensional print created from a photogram. The pots are plastic foam coffee cups cut up and colored with a fell marker.

LAWRENCE

MELKUS

IU. ,_ iI

"IIIIllill1nliol1

pr'll1l wlll1 a photogram. For more Information 1111 0011I1111111111111 prlnllng, lurn to page 72.

93

KEN

!:ITAIlIl

AND

WALT

LATOSKI

Color photograms such as this can be made by laying fresh flowers on 8 by 10-inch sheets of KODAK EKTACHROME Film (Process E-6) and exposing the film to white light.

95

I
11

The Paper Negative Process

Use the appropriate safelight for the paper. 1. Starting with-a normal negative, make an enlargement, croppod and dodged as you want the final print to bo. Uso a poncil to darken any detail or area which needs to be subduod. 2. Make a paper negative by contact-printing the onlurqomon! 01110 another sheet of paper. You can do additionnl [lollclll()tOJl(:IIIIl(l (JII the paper negative to make the final print Ilgl1!ol III !IH) filiI/Ill III retouching. Do not use papers with any prlnllno Ol11111l 1l1I(:I~, 3. From the retouched paper negative, make Iho Ilnnl pi il1ll)y C;OIlIIICI

PAPER NEGATIVES
Prints made from paper negatives look like charcoal drawings. Your origmal image can be either a negative ClI a slide. The paper-negative technlque offers considerable potential lor local control and retouchi ng. As in any artistic technique, there ue some pitfalls you should avoid when making a paper negative. In the first place, you want the contrust and the shadow and highlight deloils of the final paper-negative print 10 match those of a carefully made, lop-quality "straight" enlargement trorn the same negative. There's no point in being evasive about it-this close match is not easy to achieve! If you have had any experience in mak1110 copies, you probably know it's ionerany advisable to make both of tho intermediates low in contrast and lulrly heavy in density. Since they acIllftlly are used as transparencies, jlHfge these intermediates by trans"tilled light, not by reflected light as vou do an ordinary print. VIowed by reflected light, each inlurmediate should seem far too dark. llill 110ld each dark positive or nega\IV!) up to a fairly bright illuminator lie! judge them by transmitted light. I V!lI1the darkest shadow areas should ppoor luminous with full detail. Your

A sheet of high-contrast film was exposed to white light and then processed. While the film was wet (and the emulsion soft). the drawing was scratched on the film, and this print was made from that film drawing.

u~
ROBERT KRETZER

This is a collage of three photograms printed on color paper. The photograms were made by placing glass crystal ornaments directly on the paper and exposing through colored filters. Then the prints were cut up and combined in the design you see, and copied to produce a slide.

aim should be a transparency that op pears normal in density, but has easily discernible detail in both highlights and shadows and is very low or flat in contrast. The lower the contrast, particularly in the positive, the easier it is to retain the details of both ends of the tonal scale in the final print. Consequently, you should use the softest grade of paper-No. 1 contrast. Don't be concerned at this point about the flat appearance of the picture; in going from step to step, the procoss has a tendency to gain contrast and, unless you intentionally keep tho intermediates at a low contrasl, Iho final print will be extremely contrasty and unusable. Then, too, it's on OflSY matter to make any necossnry adjustments in contrast in the Ilnnl print by simply choosing an approprlato grade of printing paper. Paper nojjatives can be easily retouched with n soft pencil to build up the highlighl areas. You can control tho texture and detail shown in the final print by the way you expose it. For maximum texture, expose the print normally with the emulsion side up. For minimum texture and maximum detail, flash the print through the base with the light from the enlarger, then turn it over and expose it, emulsion side up, to the paper negative. To soften the de-

IUlllllllnt

C. F.NRICH

97

(1)

(2)

Picture (1) is a straight print made from the original negative. The photographer enlarged the original negative onto a sheet of KODAK SUPER-XX Pan Film 4142 (ESTAR Thick Base) which was the same size as the final print, and the film was developed in KODAK Developer DK-50 for seven to eight minutes. You can retouch this film using a pencil for fine detail and a chamois stamp (available from art-supply stores) rubbed in black chalk for the large areas. Or, you can tape a piece of matte acetate to the film and do your retouching on the acetate. The film positive was contact-printed onto a sheet of single-weight paper to produce the paper negative (2). After the paper negative was dry, the photographer rewet the back of the print and put it between two blotters under pressure to flatten it while it dried. Then he did extensive retouching with black chalk and pencil on the back of the paper negative, which is shown in (3). He ndded clouds to the sky, and density to the houne and road. To set the retouching so 1111t1 It wouldn't rub off, he ran the print Ihlllll\111a tray of water once, using the same kind of motion you would use to develop a 1,,11 "r film in a tray. After the prinl dried, h" fI"tlflnod it again using the method ,"""lIlIlIIrr1 above. r 111'" Urnpaper negative was ready for I"IIIIII,U, Itlld the photographer made contact ;"1111_ hV IIlIlng a printing frame. The finished 1"111' r. _hown In (4).

(3)

"AUL

KUZNIAR

DARDARA

JEAN

These two prints were both made by the paper-negative process. The photographer has been working with the paper-negative technique for many years and has refined it in a number of ways which produce consistently good results for him. More recently, he prefers using a film positive and film negative (refer to the chart below) rather than a paper negative. By using a sheet of matte acetate taped to each fi Im positive and film negative, he can do the extensive retouching for which the paper-negative technique is known, and the finished photograph shows the same texture that it would if it were made with a paper negative. The photographer increases the apparent texture in the final print by contact-printing the enlarged film negative onto KODAK EKTALURE Paper with a textured surface such as R or X.

It's easy to make black-and-white prints from color si ides. Just put the slide in your enlarger nnd print it onto black-and-white pnper as you would a negative.

A print such as this color-slide close-up of a white flower can be made on KODAK EKTACOLOR 74 RC or 78 Paper, No internegative was used; the slide was printed directly onto the paper.

Camera Negative

Enlarged Film Positive on KODAK SUPER-XX Pan Film 4H (ESTAR Thick Base)

Inil and obtain the minimum texture, oxpose the paper through the base with no separate flash. The texture and appearance of a print made from a paper negative is controlled by the surface of the paper you select for the first step. For very 111110 texture, select a smooth-surface pnper such as a J, F, or N surface. For heavily textured effect, use R or X urface. pal YCONTRAST Paper, A urlace (light weight) is the paper most commonly used for making papor negatives.

Enlarged Film Negative*

Enlarged Pal' Negativ

RINTlNG

SLIDES

Final Print

*You can use KOOAK SUPf II Pan Film 4142 {ESTAR Thick 1111 or other sheet films for this 111"1

on't limit yourself to printing negatlvo~:; try making a direct print from a lido, You can print slides on either hlll(;I< and-white or color paper for luuuutic effed.s. Of course, ~our print will 1>0a negative image because your Ildf) Is a positive image. II1 negative prints, shadow detail htlll 01eater clarity than in positive 1"1111';, Negative prints also accentuIlICl structural aspects of a subject Id '1IIons its graphic, abstract quali-

'n

ties. You can blend fact and fantasy in a negative print to show reality in a form that otherwise can't be seen. The more abstract the subject, the more suitable it is for negative printing, Bold simplicity is preferable 10 complex d sign and, in gonoml, pICIIIIOt1 of poopie do not look (JODe! 11'1 noqntlvo prints. To print a slido 011hlnok nnd white paper,' simply placo 11111 ';lIdo in the enlarger and print il nu YOII would a negative. Your result will 1)0 n 110gative image. When you make n (;ol(lI print from a slide, you'll need 1(-)ui.o n piece of unexposed, processed oolor negative film, such as KOD/\COI all II Film, in the light path. Color pnpot Is designed to be used with coloi noqatives that have a calor mask. You can't produce a wide range of colors when printing a slide unless you use the color mask. Place the mask in the filter drawer of the enlarger or between the light source and the lens, if possible. Put your slide in the enlarger and make a print in the normal way.

JOHN

G.

MUl.OEn

101

nlng k-and-White

olor
Tuchniques for making black-and-white prints into colorful pictures by using toners, hand coloring, soocte! photographic /linking monochrome and printing black-and-white negatives on color oeoei, papers allow printing color in black-and-white, aMI cotor prints which show black and one color.

A black-and-white high-contrast negative was turned into a color slide by placing a small piece of yellow filter behind the flower and copying the film by the method described on page 253.

PAUL

KUZNIAR

rnntlvity in photography is often the result of Simply taking several "old" C/hlllquosand combining them in a new way. This slide was made by copying a hlnck-and-white print through a yellow filter. The print was made by mdwichinq a black-and-white negative with a linen texture screen. Mpurlment with your old pictures and try to visualize them in new ways.

f(

103

You can produce calor prints from black-andwhite negatives by printing them on monochrome calor paper. This technique looks best with highcontrast negatives of simple, graphic subjects, and it's described on page 124.

ARTHUR

UNDERWOOU

Mid calor to a black-and-white print by using toners. This print is on IIIIK MI IMUST Paper. It was sepia-toned and then blue-toned to produce the . ,,1111 1111'1I to page 120to see two more variations of this picture with toning.
111111I\11

Brown toner is very effective on prints containing old wood, because it makes the wood look so natural that the viewer might think it's a calor print.

105

" 111111 /ldd color to black-and-white 1111111, nllhor ovor the whole print or III "Mirwlod areas. You can also make 0101 prints from black - and - white IIMll,lIlvos, and transform your color IIdllo nnd negatives into black-andwilllo prints to get more use out of VIII" pictures. This chapter is all about 11III1111g black-and-white into color and ,:()Ior Into black-and-white. It will help VOII make new prints from pictures Villi 11Bve in your file and show you IH)w versatile photography can be.

TONING
You can make many black-and-whlh prints more interesting by chanqlnu the color of the existing image throuul: toning. Toning will help you cronl moods and impressions in a pictun In some cases, a slight change in 11111 color of the image gives the deslnnl effect; in other cases, a bold chanq transforms a drab picture into a spot tacular one. The color produced IIV toning depends on the toner you 011 lect, but each toner yields a nurnlxu of variations on its characteristic 11111' when used with different kinds of pn per. Some toners, such as KO ON POLY-TONER, produce different hUI according to the dilution you use. Toning helps to recreate the (11 mosphere and mood of the oriqtnnl scene. Impersonal objects and cold subjects-abstract designs, glass, 101 formations, marine and snow scenou, stone, night views-all invite the unl1 of a blue toner. Toners that produce brownish tones help render tl1l1 warmth of flesh tones; they are usorl for portraits. A warm-brown tone 011 cream-white paper provides a genii ine feeling of warmth and sunnine for any sunlit view. It imparts an espu cially friendly atmosphere in pictur of people. The combination of a sui fide toner followed by a qold-typo toner, such as KOOAK Blue Tenor, will produce a fiery red color for SUII sets and fireside pictures. Toning is a technique that will 911 hance many photographs, but ther is no need for this extra treatment UII less it will improve the picture.

With toning you can cront moods in a picturo. Noli how blue toning adds to tho mood in the bottom plcturo. Both prints wero modo on KODAK MEDALIST Paper, but the print on Ih top was not toned,

BARBARA

JEAN

hlnnk-nnd-white print on KODAK

11""'1110Pnper was colored by immersing

" 11111!tAY 01water that was colored with

~."', Wntor Colors (refer to page 131). Iltl* I i.ombtnatton print (described on lillUI! In) IHI(/ n combination of techniques.

III

PAUL

D.

YARROWS

107

PAUL

D.

YARROWS

Blue toner usually improves the appearanceof marine and snow scenes, ice formations, and night pictures.

rocessing Prints for Toning

Process the print normally following 1110 instructions on the paper instruclion sheet. Using warm-tone develpors, such as KODAK SELECTOL or DAK SELECTOL-SOFT Developer, 111 place of a colder-tone developer, uch as KODAK DEKTOL Developer, Will yield a warmer black-and-white 1",1100. Improper fixing and washing is rol>nbly the main cause of stains in IIlIWc! prints, so always use a fresh 111111\1 bath but avoid excessive fixing. I" lho prints for the recommended ""11 5 to 10 minutes. r "ICOS of hypo remaining in the pa" nllor washing can also cause '"11111 111 a toned print. Wash the prints 0110 hour or use KODAK Hypo rlllll Agent according to the di1I11I!!ion the package. This prodI 11111 only reduces the washing 1IIIIIIIso removes residual chem-

icals so your toned prints will have cleaner, whiter highlights and borders,

KODAK Prepared Toners

Kodak toners are easy to lISO because the chemicals arc ploll1lxcdall you have to do is dilute thorn with water, following the instructions on the package. These t0l10lS can be used in white light. The following toners are available from your photo dealer: KODAK Brown Toner, KODAK POLY- TONER, KODAK Rapid Selenium Toner, and KODAK Sepia Toner. Be sure to soak dry prints in water for at least 10 minutes before immersing them in any toner. Refer to the chart on page 110 for toning procedures, subject suggeslions, and recommended papers for use with Kodak toners. When using toners, be sure to work in a well-ventilated room. 109

1111111 pholographers haveusedtoners for years to help render the warmth .1 111111111, This print on KODAKPANALUREPaperwas sepia-toned.

"0""

'-.'.....--~
_ __.: =~ ::;-cper1y
-,,03.
fixed; two-bath fixing

--==
USING KODAK
is

-----

TONERS
Because of the rapid washing of resin-coated (RC) papers, KODAK Hypo Clearing Agent offers little advantage and is not recommended. Prolonged fixing and washing should be avoided in order to realize all the advantages of the waterresistant base and to prevent physical damage.
Sepia Portraits Sunl it Scenes Brown Portraits Sunlit Scenes

;:;z;-:,,-: .n KODAK Hypo Clearing Agent and --e :emperature of the HCA should be 55-

'-as:' temperature is 55-70F, although in most cases zsnes are acceptable except for the wash after selenium toning.
Rapid Selenium Portraits Sunl it Scenes POLY-TONER Portraits Sunlit Scenes Wood For sepia tones from cold to warm on KODAK EKTALURE, Portrait Proof. and PANALURE Portrait Papers.

Papers Recommended

For cold-brown tones on KODAK EKTALURE, PANALURE Portrait, and Portrait Proof Papers.

For sepia tones on most Kodak papers-particularly recommended for KODABROMIDE, KODABROME II RC. KODAK MEDALlST. Mural, POLYCONTRAST,POLYCONTRAST Rapid. POLYCONTRASTRapid II RC. PANALURE, and VELOX Papers. Causes some loss of print density; compensate by increasing exposure. Degree depends on grade of paper.

For sepia tones on most Kodak papers.

Print Exposure and Development

Causes slight increase in print density, which may require slight reduction of developing time. Degree depends on grade of paper.

POLY-TONER 1:4 or 1 :24. Usually little change in exposure or development required. POLY-TONER 1 :50 causes loss in density; compensate by increasing print development. Degree depends on grade of paper. Th is toner is relatively sensitive to both hypo and silver salts. Wash 1 hour at 65-70F or SW-HCA 2 min. wash 10 min. DW-HCA 3 min. wash 20 min. Wash RC prints 4 min.

Causes some loss in contrast; compensate by increasing print development. Degree depends on grade of paper.

Wash before Toning

This toner is sensitive to si Iver content of clear areas and also to acid retained in the print. Treat SW with HCA 2 min. wash 10 mtn: DW with HCA 3 min, wash 20 min. Wash RC prints 4 min.
HCA

Particularly sensitive to hypo content, which causes excessive loss of print density. Wash RC papers 4 min at 65-70F. Wash other papers 1 hour or SWHCA 2 min, wash 10 rnin: DW-HCA 3 min, wash 20 min.

This toner is relatively sensitive to both hypo and silver salts. Wash RC papers 4 min at 6570F. Wash other papers 1 hour at 65-70F or SWHCA 2 min. wash 10 min; DW-HCA 3 min, wash 20 min.

r_=

lJsaj.

= KODAK Hypo Clearing

Agent

SW = Single Weight Papers

DW = Double Weight Papers

Sepia '" cO:-:Ja1 usage, dilute the toner stock solution 1 :3. Complete toning occurs in 28 mm, depending upon the paper grade. Intermediate tones can be obtained with dilute toner, such as 1 :9, but uneven. incomplete toning may occur with some papers. With dilute toner, toning continues for a short time in the wash; allow for this action. Post-Toning Steps Rinse toned prints thoroughly in water if they are to be treated in HCA and if you plan to use the HCA bath later for blackandwhite prints. Immerse and agitate the prints: POLY-TONER 1:4about 1 min at 70F, POLYTONER 1:24about 3 min at 70F, POLY-TONER 1:50about 7 min at 70F. Rinse prints in running water (about 2 mm). Bleach in Solution A until blacks of shadows have disappeared (about 1 min). Rinse thoroughly in clean, cold, running water (at least 2 min). Place in Solution B until original density returns (about 30 sec). Rinse prints thoroughly.

Brown WARNING: This toner contains potassium sulfide. The gas given off during use is both disagreeable and poisonous. Use the toner in a wellventilated area. Immerse and agitate the prints for 15-20 min at 68F, or 3-4 min at 100F. Rinse prints in running water (about 2 rnln).

Treat the prints for about 3 min in HCA solution (use fresh bath and maintain for this purpose only) or in a sodium bisulfite solution containing I oz per qt, Hardening: Treat prints for 2-5 min in a bath composed of 1 part KODAK Liquid Hardener and 13 parts of water. Wash 30 min at 6570F (4 min for RC prints).

Hardening: Treat prints for 2-5 min in a bath composed of 1 part KODAK Liquid Hardener and 13 parts of water.

Treat prints for about 1 min in HCA solution (use a fresh bath and maintain for this purpose only). Hardening: Treat the print for 2-5 rnln in a bath composed of I part KODAK Liquid Hardener and 13 parts of water.

Final Wash

Wash prints toned to completion at least 30 min at S5-70F Wash partially ce a: 65:=:. :;-:z:

Wash RC papers 4 min at 65-70F. Wash other papers 30 min at 6570F.

Wash RC papers 4 min at 6570F. Wash other papers 30 min at 6570F.

<::===

~ ~ ~

"Cold-tene papers yield red tones; warmtone papers yield ora

as.

KODAK EKTALURE Paper toned with KODAK POLY-TONER.

KODAK MEDALlST Paper toned with KODAK Blue Toner.

KODAK EKTALURE Paper toned with KODAK Brown Toner.

113

Ixlng Your Own Toners

don't find the colors you want III 11111 prepared toners or if you prefer III "do II yourself," you can mix your IIWII loners. Here are the formulas for "OIl1Gpopular toners to get you started.
Villi

KODAK Hypo Alum Sepia Toner T-1a This toner produces cold, chocolate brown tones very similar to those produced by KODAK Sepia Toner which is available in prepared form.

11

MIXING KODAK SULFIDE SEPIA TONER T-7a

This is a formula toner intended for toning black-and-white. Cold image-

tone papers usually tone Ilt(Jwt1 while warm image-tone papers 10110 vollowish brown.

Stock Bleaching Solution A

Avoirdupois u.s. Liquid

MIXING

KODAK HYPO ALUM SEPIA TONER T-1a

Metric

Cold water KODAK Sodium Thiosulfate Dissolve thoroughly,

(Pentahydrated)

90 oz 16 oz

2800 mL 480.0 grams

Water KODAK Potassium Ferricyanide (Anhydrous) KODAK Potassium Bromide (Anhydrous) Potassium Oxalate *KODAK 28% Acetic Acid

. . . . . . . . ..

2.0 75.0 75.0 195.0 40.0

Iltr gram gram gram mL

and add the following

solution: 200z 40z 640 mL

"To make approximately 28% acetic acid from glacial acetic acid, add 3 parts of glacial aceti c acid to 8 parts of water.

Hot water, about 160F KODAK Potassium Alum, Fine Granular (Dodecahydrated)

Stock Toning Solution B

120.0 grams slowly to the 64.0 mL 4.0 grams 4.0 grams 4.0 litres Sodium Sulfide (Anhydrous) Water Prepare Bleaching Stock Solution A Water Prepare Toner as follows: Stock Solution B 125 mL Water to make. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.0 litre Bath as follows: 500 500 mL mL . . . . . . . . . . . . . .. 45.0 grams 500 mL

Then add the following solution (including precipitate) hypo-alum solution while stirring the latter rapidly:

Cold water 2 oz KODAK Silver Nitrate, Crystals 60 grains Sodium Chloride 60 grains After combining the above solutions, add water to make .. . . . . . . . . . . . . . . . . . . 1 gal

NOTE: Dissolve the silver nitrate completely before adding the sodium chloride, and immediately afterward add the solution containing the milky white precipitate to the hypo-alum solution as directed above. The formation of a black precipitate in no way impairs the toning action of the bath if the proper manipulation technique is used.

USING KODAK SULFIDE

SEPIA TONER T-7a

USING KODAK HYPO ALUM SEPIA TONER T-1a

NOTE: This toner causes loss of density and contrast which can be corrected by increasing the exposure (up to 15 percent) and increasing 1/1edeveloping time (up to 50 percent). In room light: I. Pour the toner into a tray supported in a water bath and heat it to 120F. Using the toner at temperatures above 120F will produce blisters and stains on the print. Separate the prints occasionally during the first few minutes. lillp wet prints into the toner and tone for 12 to 15 minutes-do not continue toning longer than 20 minutes. I lrnln prints and wipe them with a soft sponge and warm water to III!nOVe any sediment. WII!111 resin-coated papers in running water for 4 minutes. Wash other jlllpotS for 1 hour or treat with KODAK Hypo Clearing Agent as rQ(l(lfnmended.
I

First, wash thoroughly the print to be toned. Place it in the bleaching bath (Solution A) and allow it to remain until only a faint yellowish brownish image of the dark tones remains. This operation will take about G 10 13 minutes. NOTE: Do not use trays with any iron exposed; may be formed on the prints. Rinse the print thoroughly minutes). in clean, cold otherwise, bluo spots

running

water (At least 2

Treat the print in the toning bath (prepared from Solution 13) until the original detail returns. This will require about 1 minute. Givo 1110 print an Immediate and thorough water rinse; then treat it for 2 to 5 minutes in a hardeninq bath composed of 1 part KODAK Liquid Hardenor and 13 parts water, or 2 parts KODAK Hardener F-5a stock solution and I G parts water. Ihe color and contrast of the finished print will not be affected by the use of this hardening bath. Remove the print from the hardener bath and wash 1I for at least 30 minutes (resin-coated papers wash for 4 minutes) in running water at 18.5 to 21C (65 to 70 F). For a packaged toner with similar characteristics, ner. obtain KODAK Sepia

115

K Gold TonerT-21 yields a pleasing range of trom warm black to neutral 11 with most warm-tone papers. ""lllI

It has little effect on cold lonu pnpors. Gold toner is one 01 tho 11IwI lunntcal formulas that tones both IIIIIIIII(Jllls and shadows at a unlform I'IIIi

MIXING

KODAK

GOLD TONER T-21

Avoirdupois U.S. Liquid

Solution A
MO/l/o

A portrait-type paper toned with KODAK Rapid Selenium Toner.

m water, about 125F. . . . . . . . . . . . . . . .. AK Sodium Thiosulfate (Pentahydrated) AK Potassium Persulfate

1 gal 2 Ibs 4 oz

4.0 litre 960.0 gram 120.0 grams

FRANK

D.

CHRtSTHOFF,

JR.

KOOAK Polysulfide Toner T-8 I ills single-solution toning bath pro.Iuces sepia tones and has the advantaqe, compared with hypo-alum loners, that it does not require heat-

ing, although raising the ternperatun to 100F reduces the time of tonlnu from 15 to 3 minutes. For a packaqrul toner with similar characteristics, tllll KODAK Brown Toner.

I >Insolve the hypo completely before adding the potassium persulfate. III Ihe solution vigorously while adding the potassium persulfate. If the nlutlon does not turn milky, increase the temperature until it does. Cool the above solution to about 27"C (80F) and then add the solu111111 below, including the precipitate, slowly and with constant stirring. 1111I bath must be cool when these solutions are added together. Id water OAK Silver Nitrate, Crystals. . . . . . . . . . .. lum Chloride . . . . . . . . . . . . . . . . . . . . . . .. NO rE: The silver nitrate should odium chloride is added. be dissolved 2 oz 75 grains 75 grains completely 64.0 mL 5.0 grams 5.0 grams before th

MIXING

KODAK

POLYSULFIDE

TONER T-8
Avoirdupois U.S. Liquid Metric

Stock Solution B
Avoirdupois U.S. Liquid Motile

Water 960z Sulfurated Potassium (liver of sulfur) . . . . . . 1 oz KODAK Sodium Carbonate (Monohydrated). 145 grains Water to make . . . . . . . . . . . . . . . . . . . . . . . . . . 1 gal Dissolve the chemicals in the order given.

750 7.5 2.5 1.0

mL grams grams litre

W.ter Id Chloride NOT[: Gold chloride is a deliquescent chemical; normal room atmosphere. Store the chemical holtlo in a dry atmosphere.

8 oz 15 grains

250.0 mL 1.0 gram

USING KODAK
In room light:

POLYSULFIDE

TONER T-8

it will liquefy rapklly In in a tightly stoppered

I. Slip wet prints into the toner and tone for 15 to 20 minutes at 68F or for 3 to 4 minutes at 100 F. Agitate continuously. 'J Rinse prints in running water. 1. Soak in freshly mixed KODAK Hypo Clearing Agent-use the Hypo Clearing Agent for this purpose only. t1 Prepare a hardening bath by adding 1 part of KODAK Liquid Hardener 10 13 parts of water, and treat the print for 2 to 5 minutes in this solution. I, If nny sediment appears on the print, wipe the surface with a oft sponge. WlIsh resin-coated papers in running water for 4 minutes. Wash other pupors for at least 30 minutes at 60 to 70 F before drying.

prupare a working solution, add 4 of Stock Solution B wly 10 the entire quantity of Solu" A while stirring the latter rapidly. lnro using the bath, allow it to 11<1 'or about 8 hours. By this time, llow precipitate will have formed 11111 bottom of the container. Pour 111111 solution off into another conIIllnn (125 ml)

tainer and discard the precipitate . Revive the bath at 111101 vals by adding Stock Solution B. ne quantity to be added will depend upon the number of prints toned and time of toning. For example, when loning to a warm brown, add 1 dram (4 ml) of Stock Solution B after each 50 8 x 1O-inch prints or equivalent has been toned.

11

117

KODAK Blue Toner T-26 Ihls toner gives a pleasing

range of blue colors with warm-tone papers, iuch as KODAK EKTALURE and KODAK Portrait Proof Papers, devel-

oped in a warm image-tone developer, such as KODAK SELECTOL Developer. The toner slightly intenslfies the print.

MIXING Part A (Solution)

BLUE TONER T-26

Avoirdupois U.S. Liquid

M()/I/r:

Water Gold Chloride* Dissolve the gold chloride with stirring.

. .

1.002 6.0 grains

31.0 mL

0.4 arame

NOTE: Gold chloride is a deliquescent chemical; it willllqully Iflplcfly In normal room atmosphere. Store the chemical in a tiglTlIy ulojljl()lOcl nlass bottle in a dry atmosphere.

Part B (Powder)
Thioureat Tartaric:j: Sodium Sulfate, Anhydrous

AvoirdUI)oll,

u.S.l./qlllrl

M()/rle

. 15 grain . 15 grain . 230 grain

1.0 gram 1.0 gram 16.0 arams

'Gold chloride can be purchased as a 1.0 percent solutlcn 110111 pillllll /lllIlply tiouaos Such as Light Impressions, 131 Gould Street, Hochester. NY I~(JI(). YIlII \;1111 I/tlll [;'111111 01 the 1.0 percent solution in place of Part A. I [ASTMAN Organic Chemical No. P497; available from pholochurnlunl 1111111111 I EASTMAN Organic Chemical No. 420; available from photochomlcnl dlllll111

KODAK

MEDALlST

Paper

toned

with

KODAK

Blue Toner.

To prepare a working solution, add Part A to I U.S. qunn (1)/1(1 Itll ) of water at about 125F. While stirring, add Part Band contlnuo UlllilltU 11I1111 the chemicals are dissolved completely. NOTE: A fine white precipitate may appear in the solution whon II In Iwpl overnight. This does not impair the properties of the toner. Parts A and B may be mixed ahead of time and stored tllljllllrllllly In IIOl1tly closed glass containers. If all the toner is to be mlxorl 111111 11'IIHfHt ono time, there is no need to mix B separately. The cornponouln ul I'urt B rnny be weighed out and added to the gold chloride solution ClIIIlll 11 hns boon prepared with 1 quart of warmwater.

USING KODAK

GOLD TONER T-21

In room light: 1. Pour the toner into a tray supported in a water bath and heat the water to 110F. During toning, maintain the water bath at this temperature. 2. Slip wet prints into the toner and leave until the desired tone is visible-keep prints separated throughout the toning procedure. Use an untoned black-and-white print for comparison to help you determine how much toning has taken place. 3. Rinse prints in warm water. Some sediment will form in the toning tray, especially if many prints are toned. The sediment is harmless, but it may form a scum on the print surface. If so, wipe the print with a wet sponge or a wad of cotton immediately after toning. ~, Wash resin-coated papers in running water for 4 minutes. Wash other papers for 1 hour in running water, or use KODAK Hypo Clearing Agent as recommended. " 10 prevent formation of spots, be sure to sponge all the water off 1110 prints before drying them.

USING KODAK

BLUE TONER T-26

In room
I

illumination: Slip the wet prints into the toner and leave them there until 1110 dosired lone is obtained. Keep the prints separated during the tonll1() procedure. Illnse the prints in running water and wipe them with a wot sponge to remove any sedi ment. Wnsh resin-coated papers in running water for 4 minutes. Wash other pupors for 1 hour in running water, or use KODAK Hypo Cloarlng Agent tHl recommended. III prevent the formation of spots, be sure to sponge all the water off lillI prints before drying them. 119

I1

_ Red Tones
nlll lncllnod 10 oxperiment, try "" 1I1'11I:llIlJlIlnr!Od tones. Sepia-tone IIIn 1'IIIIt 11I1(1 wash it in the normal Wr1Y, thon blue-tone the sepia print. IlltllOlItllt is a red to orange calor, deI'lllldlllfj on the type of paper used. (:nld tone papers yield a rich red coi1)/, whereas warm-tone papers give a 111010 orange hue. I<ODAK Sepia Toner or KODAK
Villi

11

Brown Toner can be used for the firnl stage. Then, after the print has bson washed thoroughly, toning wilh KODAK Blue Toner T -26 yields the rod calor in about 15 to 30 minutes. Thero is usually a loss of density in thl shadow areas of the picture with thl method of toning; therefore, YOII should start with a print exposed 20 percent longer than normal.

This print 0111<O1l1\1< POl YCONTI11\}11 1111111<1 l"nl10r was selecllvoly tOlloll, 11111 bottom of the print WIIII tlOVllIlHI wllll Maskoid Frlskul, 111111 1111111 1111 print was toned with I(OI)I\I( Brown Toner. Thn r,l~kol WII removed, and 1110 who It print was toned with 1( >l11\I( Blue Toner.
ARTHUR UNDERWOOD

ducing Multiple Tones

11 it combination of colors on the IIIIl print, try selective or multiple 1I11l\).Selective toning consists of 111110 only certain areas of the print hllo the rest of the print is covered 1111 rubber cement or frisket. MultiIII tnning involves selective toning 1111 1I10re than one toner. You can 1IIIIIIce various colors by the action 1111111 loner on the image previously IIl1d by another. For example, as we Itllltlnned before, an area that has 1111 toned sepia can be changed to d \ly further toning in blue toner. lulnctlve toning can be used to separate the foro[JI()llIld 110111the background. For oxnmplu, you could tone the waves in El '.III",CI'PS a rich blue, while keeplnq \Ill) locks over which the waves aro iJIII[\I(ing a natural gray calor. TIHl punnlbittties are almost limitless! You'll get the bost iouuus with subjects that have a clom 11110 of demarcation. A sail agalr1f11Iho sky, buildings and mountains fI(]alnst the sky, and still-life subjects aro the easiest types to start with. The only materials you'll need, in addition to the toners, are a bottle of

These prints and the example shown on page 104 were all made on KODAK MEDALlST Paper and loned with KODAK Sepia Toner. The top print shows the effects of the sepia toner. The bottom print and the print on page 104 were also toned in KODAK Blue Toner for 20 minutes. If you compare the two prints, you'll see that they look different. They were toned in exactly Ihe same way, but the results are differenl because the print on page 104 was printed darker. When making prints for toning, make several different exposures and tone them all. Then you'!l have a variety to select from after you see how the toner changed the print.

1t!1I

121

IhillY lope. Remove rubber cement 1IIIIbing your fingers across it while hi nllll in the wash. Once the coating '"'I1()ved, you can dry the print in unua: manner. WhoJ1you want to use two or more you must follow this procedure , MIICh separate toner.

"",n,

mmendations for Toning AK Papers in KODAK Toners

1111I following chart, the Kodak tonchocked as recommended for use Ih 1110various Kodak papers are that will produce a tone accept-

able to most people. 8111CO 1110tones vary considerably in MII-! color and strength, some exporlmontnuon is necessary to determine the 0110 best suited to a particular uso. If you plan to tone resin-conlocl (nC) papers, keep toning times 10 fI minimum to prevent solution edgo 1'0110tration and physical damage, when toning beyond 8 to 10 minutes, lonve a larger margin for trimming duo to penetration of the toner.

NING CLASSIFICATION
Developer or Process SELECTOL DEKTOL DEKTOL DEKTOL SELECTOL DEKTOL DEKTOL DEKTOL SELECTOL DEKTOL DEKTOL DEKTOL RPP DEKTOL RPP DEKTOL DEKTOL RPP DEKTOL 214 SElECTOL DEKTOL RPP N

CHART
Poly Sulfide T-8 M F F M F KODAK TONERS Sulfide Sepia Sepia T-7a F F F F F F F F F F F F F F F F F F F F F F F F F F F F F F F F F F F F F F F F F F F F F F

POLY 1 :24 F M M S F S M S F S M

Brown M F F M F S F M M M M F M F M F M M M

Hypo Alum F M F F F S F M F F M M S S S M M M

Selenium 1 :3 F

Gold T-21 M

Blue F

Both prints were toned with KODAK Brown Toner. Before toning, the area of the model in the picture on the right was carefully covered with rubber cement to protect it from the toner. After the print was toned and washed, the rubber cement was rubbed away.

S
M S F N M N F S M S

S
F M M N M N

S
M

S
M

S
F S M M M F M F ) M \ F M M M

S
M

rubber cement and some thinner, or a Irlsket material, such as Photo Maskold Liquid Frisket (available from artuupply dealers); a fine brush and a wider one, and an appropriate print. Maskoid Frisket is easier to use than rubber cement because it is a 1IIIIIIant red, making it easy to see whlr.l) areas of the print have been IllvllIod. If you use rubber cement, 111111 I1with rubber-cement thinner. Di111111 1110 rubber cement about 1:1 with 111111Ilfll, And mix well. 11'111 It small, soft brush that points 11[1 wOIl uno does not lose its bristles. IIIH IrllllO brush will be a time-saver ',ll IIIIIIIU In broad areas. Apply the IllIdllll onment or frisket in two or lIIii111 tlllII coats, rather than one heavy (illt 1)11not work the rubber cement I IlItlt Ilow it on with the brush, I
I

smooth it out, and then immediately move on to another area. For uniform toning, you should soak a dry print in water for 10 minutes, However, to minimize the risk of hav ing the toner creep under the edges 01 the mask and ruin the job, place tho dry print directly into the toner. Don'l be alarmed if the print buckles ancl curls due to uneven wetting as a re suit of the mask. If you can hold th portion of the print not to be toned oul of the toning solution, there is lesn chance the toner will bleed throuqh the coating. Make sure that the tonal is kept flowing evenly over the un coated portions. Wash the print as recommendecl, and then remove the rubber cernanl or frisket material. You can rernovn Maskoid Frisket by picking it up wllli

F
M M

S F S
N

S
S M S

S
N N N

S
M M N

S
M S S S M N N

S S S S S
S

S
N N N M

S S
N

S
N F S

S S
S M N N

S
F N N

S
F N N

S
N N N

S
N

S
M F RPP 214

No Tone Change Slight Tone Change Moderate Tone Change Full Tone Change Processed in the KODAK ROYALPRINT Processor, Model 417 Processed in the KODAK EKTAMATIC Processor, Model 214 may produce slightly different tone changes.

*Other contrast

123

A print on 1\1 !l11I111I

Superprosa Mol/llllll Paper=sapphhu ouh

The paper W(HlOXPIIIIIIlI from a higll-0011t1111l1 negative and prollll""'1I1 in KODAK DEK101 Developer (1 :2). 8111I1'111 compositions on 111\111 contrast film print b01l1 on this type of papor, Other versions of this photograph are shown on pages 206, 207, and 208.

Bold designs with a graph c quality look very dramat c when printed on metall c paper. This print is from a high-contrast negative on Argenta Superpress Gold Paper.

PRINTING ON A MONOCHROME COlOR

PAPER
in a large variety of colors in both matte and metallic finishes is Arqenta. If your local photo dealer doesn't carry monochrome color papers, you call contact the manufacturer by writing to Argenta Corporation, 8 Munchen 21, Willibaldstrasse 22, West Germany, Argenta paper is processed thu same way as KODABROMIDE Papol You can handle this paper under t\1(I light of a KODAK Safelight Filter, No 1A (light red), or equivalent. You Cflll dry the metallic and iridescent oapoi with a matte finish or ferrotype them, Monochrome photographic papo: are also available from Luminos, " Wolffe St., Yonkers, NY 10705. 125

fhere are monochrome photographic papers available that have a color built right into the paper. These papers are used exactly as other blackmd-white papers, but instead of proclllclng a black image against a white 11I1C.1~(Jround they produce a black imlUll ngainst a colored background. 1IIIIy me particularly appropriate for I'IIIIIIII(J high-contrast images because 1IlIIy holp contribute to the graphic 'IlIllllly or the image. Continuous-tone I dill I, uno-white negatives and color Iljl~"lllvl)l1 do not usually have enough ! i 1111111'11 to produce good prints on Illill\i11'I1pors. )1111 III1Ind of paper that's available

INO COLOR NEGATIVES ACK-AND-WHITE

Wlltill

K PANALURE Paper
11n oolor negative is printed on I( i>I\NALURE Paper-which is m.luornatic paper sensitive to III 11 I! , and blue light-all the coil tllO picture are rendered in relaIIlIIIlll of gray. The print will look 1111/11 It were made from a blackwllllll negative. III me two kinds of this paper. AI( PI\NALURE Paper (F Single 111),Ulossy, and warm-black in III lor general purposes. KODAK AltmE Portrait Paper E-white, 'UIIlOd lustre, and double weight 101 portraits or other subjects that Itn /I brown-black image tone. 11 (;/111 handle PANALURE Paper hn 1III11t of a dark amber safelight, /I KODAK Safelight Filter, No. II~ amber). Follow the processlructions on the paper instruclIoot. with KODAK PANALURE With PANALURE Paper you I filters during the printing ex10 alter the balance of tones I offects similar to those obby using filters over the camIW. For minor changes in tonal , use KODAK Calor Compenllltors. For more dramatic ef1I1l0 the same filters as for ordimora work. lluhlon the gray-tone rendering IDr, use a filter of a calor simiIlInt of the object in the scene. Ikon the rendering, use a filter olor complementary to that of hlne!. Remember, however, that YOll change the rendering of lnr, you also change the reno/ other colors in the scene. mplo, if the subject in a porrI .loop red lips and blue eyes, IIIIIY be too dark in the black-

(:olor l1ogatlvos are printed on 11111'(11 rlunlonod for black-and-white IIlIljllllvl)S, such as KODABROMIDE 1'111"11, tl10 increase in apparent grain 1111111110 balance of tones in the monoI:IIII>ltIO print are often unsatisfactory. lliln Is because most black-and-white pllllllng papers are sensitive mainly to IIll10 light. In other words, these ma10110ls "see" a calor negative as 1I101Ighit had a blue filter over it. As a ruault, objects that were red in the ollolnal scene print too dark, and obIllcts that were blue in the scene print I()o light. Red lips and ruddy compluxlons are too dark, blue eyes are loo light, and blue skies with white clouds lack detail.

and-white print. You can 11(ll1lon the lips with a red filter, but at tho same time you darken the eyos. 111 n case such as this, a CC40R (rorl) filter yields about the maximum couoctlon that can be applied without IlInl<111 the eyes too dark. If you want n OllOllfl orthochromatic rendering with drukor reds and lighter blues, use two CCGOC filters over the enlarger lens.

MAKING BLACK-AND-WHITE NEGATIVES FROM SLIDES

One easy way to get a black-andwhite print from a slide is to have a calor internegative made, and print the negative on KODAK PANALURE Paper as described above. Another way is to make your own black-and-white negatives from slides by printing the slide onto a sheet film, such as KODAK Commercial Film 61270r4127. Simply enlarge your slide onto th sheet of film, just as you would print a negative onto a sheet of enlarging paper. Place a sheet of black paper behind the film to prevent hatntlon, and cover the enlarger with 0 cloth to minimize stray light and foO. Mako a test strip to determine tho exposure. Process the film accordinq to the Instructions on the film instructtcn sheet. KODAK Commercial rllrn Is a bluesensitive film, so you con handle it under a red safelight (KODI\K Safelight Filter, No. 1) and soo what you're doing. This film will not reproduce red and green in their propor tonal values, so if areas of your subject are red or green, use a panchromatic film, such as KODAK PANATOMIC-X Film or KODAK SUPER-XX Pan Film 4142 (ESTAR Thick Base). Since these films are sensitive to red, green, and blue light, they must be handled in total darkness. 127

Those prints were all made from the same color negative. The black-and-white I',ll1t on the left is on KODABROMIDE Paper; the blue sky is reproduced too light nnd the red jacket and hat are too dark. The print on the right is on KODAK I'ANALURE Paper, which is a panchromatic paper. This paper is sensitive to all IIllIrn 80 It can reproduce the colors in a color negative in the relative tones of gray.

RINTING BlACK-AND-WHITE NEGATIVES ON COlOR PAPER

ome black-and-white subjects look effective when printed in calor. Ill/ can make calor prints from black11(I-white negatives by printing them HI KODAK EKTACOLOR 74 RC or 78 Pnpors. The resulting print will be one olor, but it will show a range of tones t ihat calor. Because this paper is de1(JIlodto be used with calor negatives Wlllch have a built-in calor mask, the 1I1!11< is usually necessary for good 010/ prints. Make the mask by having ploce of unexposed color-neqative Irll processed Place the mask in the 11111/ drawer of your enlarger or be""11 Ihe light source and the negacarrier if possible. Use this mask, nlhor with your standard fi Iter pack, Iho onlarger whenever you're printlilnck-and-whlts negatives on colpnpor. Once the mask and filter k me in place, simply print your k uno-white negative, just as you Id nny color negative. Process the / III the normal way. lJ can get saturated colors by 11110 through "Sharp-cutting" fil1 hose fi Iters transmit only one 01 the spectrum, and they proIhnlr complementary colors 11"00 in conjunction with a blackhlln negative and color print '110 following table lists some nd ths colors they will produce.
vIIJY

A col or print such as this can be rnado rrom a black-and-white negative by printing 011 KODAK EKTACOLOR 74 RC Paper thrOllol1 El magenta filter and a mask made from n ploc of unexposed, processed cotor-nounttvo film.

This print was made from a negative on KODAK Commercial Film. A color slide was enlarged onto a sheet of Commercial Film with an exposure of 5 seconds at f/22, and the film was processed in KODAK Developer DK-50 full strength. Variations of this same photograph are on pages 190, 191, and 203.

'ihnrp-Cutting lollowing Wlli\TTEN 110(1 I Ilroon

Filters To produce this col or Cyan Magenta

IllnOI;nICK c.
ENRICH

Filter

111110
I:YIlr1

.........

Yellow Red Green Blue

MII(jonta op Yellow

This print was made from a blnck-and-whtts negative by printing each half of the negative separately throuqh tho appropriate filters onto KODAK EKTACOLOR Paper. The figure was hand-c%rod alter the print dried.

IPO

129

DARDARA

JEAN

A photogram like this can be made on KODAK RESISTO Paper; photograms are covered on page 93. The print was soaked in a solution of orange transparent watercolor and water for several minutes, rinsed in clear water and then air-dried.

ING COLOR

LATER

A color print made from a negative on black-and-white film and printed on KODAK EKTACOLOR Paper without using any filters or color mask.

no time the only way of produccalor print was to hand-calor a k and-white print, and this methIII still being used in portrait stuflame photographers are also rlrnonting with hand-coloring senreas of prints and slides to uco unusual visual effects. HowIhls technique does not work n KODAK POl YCONTRAST 11RC Paper. U can calor black-and-white or prints with KODAK Retouching ir Marshall's Photo Oil Colors, tructions are included with the It's easy to add calor to small , prints with watercolors, food , or felt-tipped marking pens. me also several transparent IIIlIdo for photographic uses, Nlcholson's Peerless TransWilier Colors, and Martin's mntlc Transparent Water Col-

ors. * These dyes will calor prints or slides. You can also glue colored tlssu paper over the surface of a print us ing a colorless glue, such as rimer's Glue. One effective way of adeJlng calor to black-and-white is cornblntnp tissue paper with a "print" mode on a large sheet of hiqh-contrast film. Photography is a rnodtum !lwt allows expression in an lnllnlto variety of ways, so don't confino yourself by traditional techniques of print finishing. Experiment with cotcrs on a spare print and see what interesting effects you can create.

"Both of these products aro nvnlloble by mail if you can't find Ihe corers loenlly In art-supply stores. Nicholson's Peerless Iransparent Water Colors are available 111 liquid or dry form from Peerless Color t.aborntory, 11 Diamond Place, Rochester, New York 14609. Martin's Synchromatic Transparont water Colors are available from Sails International, 4093 N. 28th Way, Hollywood, Florida 33021.

In

131

Iloth those black-andwlllhl prints were colored with the same shade of 1)1110, transparent wateroolor. You can obtain light pastel colors by putting a small amount of oolor in a tray of water nd soaking the print. Uno lust enough water to cover the print. You'll get more intense calor by liPplying the calor with a wad of cotton directly from the bottle to the urface of a wet print.

PAUL

KUlNIAR

III

1[1'1

11 prints were printed in exactly the same way on KODAK EKTACOLOR Paper. The white areas in the sky were colored in with a wet brush nnd KODAK Retouching Colors. You may have used retouching oolors .pot calor prints or increase the calor saturation as we did here, but you can also use them to add calor to a black-and-white print.

133

A print made from a color negative and printed on KODAK PANALURE Paper; it was colored by swabbing the surface of the wet print with a wad of cotton saturated with purple, transparent watercolor.

DARDARA

JEAN

This photogram was handcolored on the dry print using a piece of cotton saturated with green, transparent watercolors to color the leaves. The stem and flower were colored with a cotton swab saturated with transparent watercolor. Cotton swabs work well for coloring small areas and filling in details, but they show streaks if you use them on large areas.

rhlA photograph shows a number of different techniques. The picturo Is printed fill fin 8 x 1O-inch sheet of high-contrast film. The film is glued to a whlto board Wllh rfJd tissue paper placed behind the apples and between the film and the board. " oombinatlon of images on high-contrast film served as the original negative.

Inil
135

eAReARA

JHH

This print was made as an extra proof, and it was colored in with an orange felt-tipped pen just as an experiment. It's easy to use a felt-tipped pen to color fine lines in a print, but large areas will show the strokes of the pen. Save your extra prints and experiment with them.

IO{

llilll posterization was made from a black-and-white original. There are a number 01 techniques discussed further on in this book that will show you how to turn hlnok-and-white negatives into color slides and prints. They are: The Sabattier I "nct-page 190, Posterization-page 230, Gum-Bichromate Printing-page 264, and Photo Silk-Screen Printing-page 273.

Two prints from the same negative-the color and mood were altered by IIlillnging the filter pack. Both prints had color added later to the lighthouse light and windows. It's easy to bring out details in color prints with KODAK Retouching Colors and a wet brush.

137

The owls' eyes become the center of interest and most I colorful area of the print when they're intensified with yellow KODAK Retouching Calor.

PAUL

D. YARROWS

The yellow skis really add impact to this calor print. They were brightened up with yellow dye after the print was made. This technique of adding calor works equally well with prints or si ides-try it sometime!

DARBARA

JEAN

Another way of combining black-and-white and calor is with a montago. TI11s slide Is a film sandwich of a calor slide and a high-contrast film positlvo. Tho film positive was made by contact-printing a black-and-white negatlvo onto high-contrast film. For more information on techniques with hlgl1-contrast films, turn to page 154.

139

ng h-Contrast ctures
m
IIlgh-contrast pictures are black-and-white with no intermediate tones, and tnoy're made by printing continuous-tone negatives or slides onto high-contrus: film. High-contrast films are the basis of many of the other techniques

utsoussea

further

on in this book.

By using a high-contrast film, the photographer was able to isolate this composition. The original negative was printed on KODALlTH Ortho Film 6556, Type 3, to produce a high-contrast positive film. Then, that film was contactprinted onto another sheet of KODALlTH Film to produce the high-contrast negative used to make this print. KODAK Opaque was used liberally to paint out the unwanted areas of the picture.

~~=-'';'"''~)'~;l:ii;~sJ,.
ROBERT KRETZER

This straight

print made from the original continuous-tone has potential but it lacks dramatic impact.

negative

Illgh-contrast films offer the opportunity of creating many different compositions from one original image. This tone-line print was produced from the same original as the photograph above, using the process described on page 163.

11\0

141

MICI1AEL

TYBURSKl

t1lll1ple compositions can become dramatic pllCllographs in high contrast.

It's easy to print multiple images with high-contrast negatives because no dodqlnu is required. The high density of a highcontrast negative is a built-in mask.

A montage made from a color slide and a positive printed on KODALlTH Film.

A black-and-white continuous-tone negative was contact-printed onto KODALlTH

Ortho Film 6556,Type 3, to produce the high-contrast positlvo of the boat. Then the positive was sandwiched with a slide containing two flowers to produce this montage si ideo

143

KEITH

BOAS

This multiple-exposure print was made from a single high-contrast negative. After each exposure, the enlarger easel was moved (refer to page 51). To achieve the midtones, each exposure was kept extremely short. The original picture, taken on slide film, was printed on a high contrast black-and-white film to produce the high-contrast negative .

...:;1/

ilia

===

l!IiJlaIIJQJ
A combination of high-contrast films was used to create this print. A series of high-contrast films was printed from the original image using different exposure times; then these films were contact-printed onto additional sheets of high-contrast film. From the series of negatives and positives created, the photographer selected the lightest negative and the lightest positive and sandwiched them together. That film sandwich was used as a "negative" to print this picture.

Ill" original picturo, takon on KODACOLOR II Film on an overcast day, "n" "" lntoroetlnq pattorn butlitlle snap or color. The photographer turned tlllllU" IIIto rr bold graphic dosign by first making a high-contrast positive from h. IIIIUIIIIII oolor nogrrtlvo. He then contact-printed this positive with another """t or thn nnmn 1ll\lll-contrast film to produce the negative from whloh this illustration was printed.

145

IlIull I 1IIII!lIllI prlnl Is a black-and1.\111 1'11111 with no Intermediate gray \111\1111, IIlld w1l11oullhe gray tones, only 11111 11111.11111101 shapes of the original pllll\II\IIllpll arc reproduced. The solid I J\rl(:l~ find stark white tones comIIllIlId wllh the sharply outlined sub1111:1 IIlflke high-contrast prints eye11\\!;lllng. With this process, you can 111111 cluttered negatives into clean, drlll!lnlic pictures; salvage flat negaIIv()(1 and underexposed slides; corn111110 Images from several photographs 10 croate a new composition; and turn 11II\Gkand-white negatives into color

variety of sizes, but the 4 x 5-inch sheets are generally the most convenient to use. When working with highcontrast films, it's best to make the largest negative that your enlarger will accept because it makes retouching as easy as possible. You can also contact-print negatives and slides onto these films; this method allows you to reproduce several small images on one sheet of 4 x 5-inch film. Use the contact-printing method only if no retouching is required. By contact printing, you can also produce bas-relief images (refer to page 161).

IlIlI1ls and slides. I'roducing high-contrast negatives 111<1 positives is the foundation for runny of the techniques described in 1110following chapters in this book. It's very important that you develop a IJBSic knowledge of producing good high-contrast images before you attempt more sophisticated photo processes such as posterization. In order to produce a successful posterization, you must be able to control the printing of high-contrast film. High-contrast films and paper are asy to use because most of them are orthochromatic. If "ortho" is a part of the name, the material is not sensilive to red light and can be handled under a red safelight. Check the inntruction sheet packaged with the rnaInrlnl for the safelight recommenda111l1I, The obvious advantage to being IIIlIIl to work under the light of a safe11\1111 Is that you can see what you're 1\111110 find watch the film developing. IlIllll-contrast films and developer \Ill IIvllllable from graphic-arts sup1'1\r111l(listed under Printing Supplies 11111111 yol1ow pages of your telephone 11111 J\'.). or your photo dealer may be 111111 10 order these products for you. (l\ ll\L1TH Films are available in a

This Pennsylvania Dutch scene needed to undergo a couple of rather simple darkroom procedures before the photographer could achieve the final high-contrast effect that he wanted.

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KEITH

BOAS

Blurting with a KODACOLOR 11 Negative, he made a black-and-white positive on a piece of high-contrast film. Next he contact-printed this positive onto nnother sheet of the same film, ending with an extremely high-contrast black-and-white negative. The final enlargement, made on KODAK 1'( 11 YCONTRAST Rapid II RC Paper, was printed for a good black (with no filter) _lIetdeveloped normally. To simplify the subject and make it more appealing, 1111 photographer elevated the enlarger and cropped for a pleasing composition.

147 11\

TONY

CAPUTO

1'0remove unwanted bnckground elements in high-contrast pictures, use 11 retouching material such HR KODAK Opaque (see Jll\ge 153). Here opaque WI\Sapplied to the hnckqround of a highcontrast negative which wile later contact-printed 111110 another sheet of the lime film to produce a pnaltlve image. The ponltlve was then enlarged III make this prize-winning 111"1111.

Two slides sandwiched together produced this high-contrast variation. The original KODAK TRI-X Pan Negative (35 mm) was enlarged to an B x 10-inch black-and-white print. Next the print was copied onto a high-contrast black-and-white film. The resulting negative was then copied onto another frame of the same film to produce a high-contrast positive. A color slide of a unset was then sandwiched with the high-contrast positive to create this picture. lhose horses didn't just happen to be visible Ihrough the opening in ~ Ihn fence. The fence was Illurged on one sheet of high-contrast film and Ihn horses were enlarged 11I11I"t the right proportion 1111 Mother sheet of highcontrast film; then the IWII films were combined to make this print.
CA-ROLE G. HONIGSFELU

149

Selecting the Film

There are several high-contrast films available and the film you use will depend on the original image you select as well as the final result you're trying to achieve. For general use in making high-contrast positives or negatives from negatives and slides or for making contact negatives (or positives) from high-contrast film posItives (or negatives), use KOOALlTH Ortho Film 6556, Type 3, or KOOALlTH Ortho Film 2556, Type 3. If your original image is in color nnd has a lot of red in it that you want to record in detail, use KOOALlTH Pan Film 2568 to make the highoontrast negative or positive. Because this film is panchromatic it will acurately record all the colors in your original as various shades of gray, while the ortho fi Ims record reds as black, often without much detail. KOOALlTH AUTOSCREEN Ortho Hlrn 2563 is a high-contrast film which produces a dot pattern automatically. lJse the film if you want a built-in texturo screen. Because of the built-in pnttern, you can't retouch this film with opaque as easily as the other hlllll-oontrast films. Use KODALlTH AlJTOSCREEN Ortho Film as a posiIIvo for silk screening. Refer to page 3 for more information on photo Ilk screen printing.

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~
DARBARA

USING HIGH-CONTRAST
J
E:AN

FILMS

One of the big advantages of working with high-contrast films is that you can completely rearrange the composition of a picture. In the original slide, this gull was flying out of the picture. After enlarging it onto KODALlTH Film, the photographer cut the negative apart and taped the gull in this position.

With high-contrast films, you can make negatives directly from slides. Or you can print a negative onto the film to produce a high-contrast film positive. Then contact-print the film positive onto another sheet of film to produce a high-contrast negative. You use both the high-contrast positive and negative for some of the techniques described in this and later chapters. One of the biggest advantages of using high-contrast films is the ability to eliminate distracting areas of the picture quickly and easily by painting them out with opaque. It's also easy to combine two images from different films or to rearrange the composition of an image by simply cutting the film, rearranging the image into a new composition, and then taping the pieces of fil m along the edge. By combining these techniques of cutting and rearranging images with the ability to paint out areas of a picture or add details in other areas, you can create an almost unlimited variety of new pictures from negatives and slides YOlI have on file.

ALlCE

HALL

High-contrast derivations work best with Simple compositions, and hlgh.contrast films allow you to eliminate details that often clutter the background.

151

r:n

Retouching High-Contrast Films

It's easy to retouch the pinholes that are so common on high-contrast films. You can use an Eberhard Faber Thinrite Marker 690 black or KODAK Opaque. KODAK Opaque comes in red or black and either color works well. Stir the opaque and then take a mall amount on the tip of a brush and retouch the pinholes. You can spot oither the base or emulsion side of the film. You can also paint out large areas of a film with opaque to eliminate distracting backgrounds. Since the opaque acts as a mask, it's easy to oliminate any clear parts of the irnIIge. Just paint out the unwanted clear ureas with opaque. To cover large ireas, you may find it easier to use Scotch Brand No. 616 Lithographer's rape which is available from graphicHtS dealers. Simply place the tape over any areas that you want to mask. You can remove density (black ircas) on high-contrast film by treatIno the area with a strong solution of reducer. such as KODAK Farmer's ltoducer. Removing density with reucer is not difficult unless there is an roa of density that you want to save lose to the area that you want to remove. Because reducer is a liquid and lends to run, it is harder to control lhnn retouching with opaque. 10 remove density (black areas) Wilh opaque, make a positive (or neguvo) from the original high-contrast 111111 Since the area you want to reIIlVO was black on the original, it will hn oloar on this second film. It's easy opaque out the clear area, but then 11'11 have to print this image onto nothor sheet of high-contrast film to I II back where you started. 11 your high-contrast films show yelW processing stains, you can re-

PROCESSING

KODALlTH KODALlTH KODALlTH KODALITH

ORTHO FILM 6556, TYPE 3 ORTHO FILM 2556, TYPE 3 PAN FILM 2568 AUTOSCREEN ORTHO FILM 2563

move these stains by IIIlll1UlnlflO th film in a very dilute solutlon ol roducor. After the stain disappotuu, wllnh nno dry the film following thc tnuuuollons on page 35. Processing atnlnn rllo n warning signal that your chomlonlu (11 exhausted or that you need 10 1IIIlI! your hands more carefully oflol YOII handle film in the fixer and 1)()loll you put a fresh sheet of film into IIIIl developer.

Use a KODAK Safelight Filter, No. 1A (light red) with KODALlTH Ortho and AUTOSCREEN Films. Use a KODAK Safelight Filter, No. 3 (dark green) with KODALlTH 68F with continuous Pan Film. agitation. 1. Develop the film in KODALlTH Super RT Developer for 2% minutes at

2. Rinse in KODAK Indicator Stop Bath for about 10 seconds. 3. Fix for 1 to 2 minutes in KODAK Rapid Fixer at 65 to 70F.
Agitate the film frequently in the fixing bath. Solution and hang to dry.

4. Wash about 10 minutes in running water.

5. Treat in KODAK PHOTO-FLO

JANE

A.

DIFLOURE

You can paint out large areas on the high-contrast negative with opaque to eliminate distracting detalls.

153

A VARIETY OF USES FOR HIGH-CONTRAST FILMS

As we said earlier, knowing how to produce good-quality high-contrast images is the basis for many of the techniques mentioned in the following chapters of this book. High-contrast films open new horizons to the photographer. Here are some quick and easy thi ngs that you can do with the high-contrast images you create.

Prints and Slides

It's obvious that you can use a highcontrast negative to make a print. If you print a positive, you'll get a negative print. Because high-contrast images are more graphic than realistic, it often doesn't matter whether you start with a negative or positive to produce a positive or negative print. In fact, if you've put the image through several stages of high-contrast films, you may completely lose track of whether the image is negative or positive. It certainly won't matter to anyone viewing the print as long as you have produced an interesting image. Another way you can use your highcontrast films is for making slides. If you've produced 4 x 5-inch images, try copying them using transmitted light on color-slide film. Refer to page 253 for one method of illuminating films for copying. You'll need a closelip lens or other close-up equipment 10 ullow you to fill the picture area with 11111 Iil10ge. Try different colored filters Ill/Ill 1110 camera lens or cut up pieces II1 1I1111111n filters and place them bellilld 11111 clear areas on the film to prorhu 1111 IIIIIlticolored image. 11 YIIII'VO contact-printed 35 mm iI' I!OII'1/ nuqatives onto high-contrast llIlil Villi 1:1111 mount the piece of highIIIIJilll 111111 Itself and use It as a 11111 'IJ I1Ild 1111 overall color, mount a piece of gelatin filter material with the film. For the best results, bind high-contrast slides in glass. These slides tend to "pop" more during projection than conventional slides. You can also add calor directly to high-contrast film (and other films too) with water-soluble dyes, such as KODAK Retouching Colors and dyes made for photographic use (two are listed in the footnote on page 131). Some people have also used vegetable food coloring with success. To apply one color over the whole film, simply dip the film in a solution of the dye. To add different colors to several areas on the film, use a cotton swab or a brush. You can apply the color to either the emulsion or the base of the film.

A grainy negative on 35 mm film was enlarged onto KODALlTH Film, 011(/ the KODALlTH Film was developed in KODALlTH Fine Line Developer. ThO tllm was agitated during the first 15 seconds in the developer, and then stltt-oovulopod with no agitation for another 2Y4minutes. This produced a positive film which was contact-printed onto a sheet of KODAK Separation Negative Film 4133, Type.2. The Separation Negative Film was developed in KODAK Dovoloper DK-50 (1:1) for 21'2 minutes to produce the negative that made this print. Note: You could also use KODAK Commercial Film for this stop.

155

Slides like this can be made on KODAK EKTACHROME 64 Film by photographing a high-contrast negative. Cyan and magenta gelatin filters were placed behind the boats (clear areas in the negative) so that they were recorded in different colors.

HOWARD DAVID M. HON1GSFELD

LAY

This picture was planned in advance, and a picture was taken of each building on negative film. These two negatives were nlarged onto high-contrast film to produce poultlves, and then the positives were nnntflct-printed onto more high-contrast 11111I to produce two high-contrast negatives. 11111 foreground negative was printed to a "llIok 1l11l10uette, and the background IIlIulltlvtl was given a shorter exposure III fill 11 11100 a light gray tone.

This picture happened when the photographer was experimenting in the darkroom. The original negative on KODAK PLUS-X Pan Film was enlarged onto 4 by 5-inch KODALlTH Film. That KODALlTH Film was contact-printed onto another sheet of KODALlTH Film. These two films were sandwiched together in register and contact-printed on a third sheet of KODALlTH Film. The resulting third sheet of film was used to make this print.

You can also use high-contrast film to create a montage with a corer slide. 11irdsor trees printed on high-contrast film can add a foreground or center of interest to sunsets and other scenes.

157

Titles
This effect can be achieved on KODAK EKTACHROME64 Film by photographing a high-contrast negative through an orange filter.

High-contrast films often make effective slides as a montage. The skyline of New York is a high-contrast positive contactprinted from a black-and-white negative. The moon is one color slide, and the trees are another color slide which was taken with a multiple-Image lens-three films and a combination of darkroom and in-camera techniques to create a photograph you could never see in your viewfinder!

You can make dramatic title sllcluo IlY copying lettering onto high-colltlflnl film. The easiest way to make tllUll< titles is in the camera rather than III the darkroom. Copy your titles onto KODALlTH Ortho Film 6556, Type 3. This film comes in the sheet-film sizes that we mentioned earlier and in 35 mm 100-foot rolls. To use the film in a 35 mm camera, you'll have to load lengths of it into a 35 mm magazine, such as a KODAK SNAP-CAP Magazine. Expose and process the film according to the directions on the film instruction sheet. Mount and color your titles as explained on page 154.

The photographer created this slide for a travelog by tracing a map with a black marking pen, and then photographing the tracing on a high-contrast film. Selective coloring with dyes emphasizes one country while showing its surrounding area.

159

""1"'_ 1111110 mudu I)y 0 double exposure. 1"" I'li1l1011l1lp11U1 took a close-up of the
IIIIWIII plllluII' In 0 rug for the background ""IIIU 11 oolor slide film. She then made a I IIlill uxoosure on the same frame of film1111" 111110 of a high-contrast film title having 010111 loltering and a black background. I Ii" IIddlllonal exposure in the area of the r.luru loltering completely overexposed the lido IlIm and left the letters transparent. The black background in the second oxposure acted as a mask to protect the rest of the flower pattern image from being fogged.

This is a bas-relief rnado by contact-printing the transpn.oucy onto high-contrast film. Tile resulting negative was thon sandwiched with the transparency and copied to produce tills slldo.

This bas-relief was made from a slide and,a high-contrast negative; then the photographer liad a col or internegative made so he could make a color print from it.

!'AUL O. '(A""0WS

ating a Bas-Relief
bns-relief is a picture with the subI outlined by a dark or light line d with a somewhat distorted over11 lonal gradation. You can create a relief in black-and-white or color rative or si ide) with the use of Igh-contrast film. Contact-print the Iulnol image onto a high-contrast 1nl and process the film as directed puge 152. After the high-contrast Irn In dry, place it with the original find arrange the images so that y'ra just slightly out of register. po Ihe edges of the film together to p them from slipping. If your origi1 1II10ge was a negative, place the nnndwich in your enlarger and print it. If the original imago was a slide, bind the film sandwich botwaen glass and you have produced a basrelief slide. If you want to go ono step further with high-contrast film and bas-relief, you can create some very interesting images. Contact-print your original image onto a sheet or hlqh-contrast film. After it is processed, print this sheet onto a second sheet of the same film. Bind the negative and positive films together with the images just slightly out of register. Put this film sandwich in your enlarger and print it to produce a high-contrast has-relief print. 161

BARBARA

H.AN

PAUL

KUZNIAR

You can 'also adc rettering to prints with high-contrast film. Photograph black type aqainsta white background on KODALlTH Film to produce a negative with clear letters on a black background; then contact-print this negative onto another sheet of high-contrast film to produce black letters on a clear background. Sandwich this high-contrast positive (with the black letters) with your negative and print them together to produce white letters on your print. ()l1vlously, you'll have to plan ahead to make sure the size of the type fits into the plnture where you want it. This print was used as a title picture for a print show.

I",

IIIIl

Creating a Tone-Line Negative

A print made by the tone-line process looks like a pen-and-ink drawing. This is a multi stage process, and it requi res considerable experimenting to get the proper exposure of the various films involved. Start with a black-and-white negative and make a contact positive on any black-and-white film. KODAK Commercial Film 6127 is an easy film to use for this step because you can process it under a safelight. For more information on this film refer to page 127. The contrast and density of the positive should be as close as possible to that of the neqative. Register the Images of the negative and positive with the base sides together, and tape them together along the edge. Place the film sandwich into a printIng frame with a sheet of high-contrast film, as illustrated in the drawing at the right. Place the printing frame on a turntable and rotate it during the exposure or move the light source in a circle over the printing frame. Expose the film to the light from a 100-watt frosted bulb placed 3 feet above the printing frame at an angle of about 1\5 degrees as illustrated in the drawIng. You'll need to experiment to detormine the exposure, and you can use mall pieces of film until you get the xposure you want. Follow the instruclions on page 152 for processing the hl'(Jh-contrast film. This processed film is your tone-line negative, and you print it just as you would any l1oqative.

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VI/ 1J/17I//IZj

Iltl_ ~llillI In n bas-retlol-tho subject is outlined by a dark line and the highlights
'" ""H'k I,om A hlqh-contrast negative sandwiched with the original slide.

163

,~\v '.;~ \
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1110tone-line on the left looks like the negative used to print the tone-line print on the right. To produce a print that looks like the tone-line negative, you'll need 10 oontact-print that negative onto another sheet of high-contrast film, and then use the resulting film (positive) to make your print.

1111

167

STANlEY

W.

COWAN

High-contrast

film was used for all the stages (except in creating this tone-line.

the original)

I'hls is a tone-line made from a film sandwich where the negative and positive films had different densities. Because the densities didn't match, some detail throughout the subject, as well as the tone-line outline, was exposed.

NEII.

MONTANUS

AND

KEN

STARR

Here's a tone-line printed in register with the original color negative. The color negative was used as the original image to create the tone-line. After printing the color negative on color paper, the paper was given a second exposure from the tone-line negative to add the black detail to the print.

I""

169

,
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\
I

~~

LVN AOAM!

The tone-line helps isolate the subject, and the diagonal composition adds to the feeling of action.

These high-contrast techniques offer you unlimited opportunities for croatlng new photographs. Experiment with combining techniques mentioned In this book. This photograph shows a combination of techniques. Two black-and-white photographs were made of the model, and one was cut up to serve as a pattern. The photographer printed 35 mm negatives onto KODALlTH Film to produce small positive images; then these positive films were arranged into the cut pattern of the model's leotard. The films were taped togothor with clear tape. These taped KODALlTH positives were contact-printed onto another sheet of KODALlTH Film. Using the pattern again, the negative film was then cut out in the shape of the leotard, and the clear areas of the image wero painted on one side with paint. When the paint was dry, this negative film was glued to the original mounted enlargement with rubber cement.

ltu

171

lation
Hut/cu/otlon is distorting the emulsion ovorett pattern in the film. The distortion processing solutions.
-, "

layer to create an is produced during of the

by extreme

changes

in the temperature

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SOB

ClEMENS

AND

FREOERICK

C.

ENRICH

This print was made from a negative on KODAK TRI-X Pan Film. The film was reticulated using the process described on page 180; then it was frozen, Save the reticulation process for those pictures which have simple composition.

1:/111

A print from a reticulated black-and-white negative, The reticulation pattern ndd interest to a photograph that has a strong design with large, plain areas

I"'I

173

Reticulation is a distortion of the emulsion layer of a film, usually caused by extreme change in temperature during processing, which causes silver grains in the emulsion to "clump together" into a regular pattern. The resulting pattern is called reticulation, and it ruins the film for normal photographic purposes. However, reticulation can enhance some photographs with the texture that it adds. The texture can add interest particularly to photographs having strong design with large plain areas. It can also enhance the mood of a scene such as a seascape or a sunset. Because reticulation is undesirable, unless you're trying to produce special effects, photographic manufacturers have worked to improve films so that they resist reticulation. Twenty years ago, reticulation occurred often and easily if the temperature of the processing solutions varied slightly. Today, black-and-white and colorfilms have been improved so much that moderate variations in temperature will not damage film or cause it to reticulate. You have to create extreme temperature changes during processi ng to achieve reticulation. Since the techniques described in this chapter are strictly experimental and the film might be ruined in the process, you may want to copy you: original photograph and reticulate th copy negative or slide. In addition to reticulating, this chapter includes (I method of freezing the emulsion fOI the photographer who likes to experl ment with "way out" techniques.

OAIlIlARA

JEAN

You can add texture to color slides with montage. This rose was slightly overexposed. Putting a close-up of a concrete block over it added texture and density. Adding texture with a montage rather than with reticulation allows you to see exactly how your original image will look with a pattern without changing that original image. If you don't like the results, you can change your mind and the original image hasn't been altered.

IMULATING RETICULATION WITH TEXTURE SCREENS

y far the easiest way of producing a iular pattern on film which sirnuIIIlos reticulation is with a texture roen. Texture screens allow you to dd a regular pattern without altering olJr original image. They work equalIV woll with black-and-white negaIVtllI, color negatives, and color slides. we mentioned earlier, you can ko your own texture screens or orr roady-rnade screens. For more inunnllon on making, ordering, and 11ll) loxture screens, referto page 60.

With color slides, you can easily add texture by making a montage. Photograph any interesting textures you see, such as the patterns in a cement sidewalk, cloth, wall coverings, and rugs. Sandwich these texture slides with other slides that need additional interest to create a good picture. Make a variety of exposures of the texture, from a normal exposure to a light exposure, so that you can match the texture slide to the density of the main slide to create a well-exposed montage.

175

ETICULATlNG LACK-AND-WHITE

A print made from KODAK TRI-X Pan Film, which was reticulated using the process on page 180.

FILMS

Photograph ice crystals on a window; then you can put the ice-crystal pattern over any subject by making a montage.

A little knowledge of the film's struclure and what happens during proossing can help you obtain successful results with reticulation. A blacknet-white negative is composed basilily of grains of silver suspended in iolatln emulsion and spread on a lnnr plastic base. When the film mulsion is wet, it becomes very soft. A hnrdener is usually included in the IJMfH to harden the emulsion and make 11 loss fragile. Extreme changes in '.llIperature while the film is in its JJlont state will cause uneven swellmd shrinking of the gelatin and orlucc a relief pattern in the emulI1 coiled reticulation.

177

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Tile reticulated pattern shows up distinctly in the large. plain areas of the windows. A print made from reticulated KODAK PLUS-X Pan Film.

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C. ENRICH

FREOERrCK

KODAK PLUS-X Pan Film was reticulated and was then placed in the freezer for about 10 minutes. Reticulation created the overall spotted appearance and the hllll/lng added another pattern. Refer to page 189for more information on freezing film.

179

ICULATING
Iltll1 III 101111

BLACK-AND-WHITE

FILMS

I<ODAK PLUS-X Pan or KO OAK TRI-X Pan Film.

de.rlmess:

KODAK Developer 0-76, and develop the film accordi ng to the film or developer instructions . ', nlnse the film in an acetic acid stop bath for 1 minute at a temperature of140t0180F. 3. Immerse the film in a cold water bath (below 40F) for 1 minute. 1\. Note: This step is optional; it emphasizes the reticulation pattern of the emulsion. It doesn't change the pattern; it just makes it more prominent. Immerse the fi Im in hot water (180 to 190 F*) for 1 minute. Then quickly immerse it into another cold water bath (below 40F). 5. Fix the film in the normal way with a fixer that contains a hardener such as KODAK Rapid Fixer. 6. Wash the film in running water for 20 to 30 minutes. 7. Do not use KODAK PHOTO-FLO Solution. Dry the film quickly using a portable hai r dryer. Lay the fi Im (emulsion side up) on a clean, lintless cloth, and di rect the warm ai r back and forth across the surface of the film. You can also freeze the film before drying or when it's partially dry; refer to page 189.
'You can measure these temperatures without a thermometer by watching the water as you heat it. The water will be about 180F when it begins to swirl, and 190F when small bubbles start forming along the sides of the container.

uno

RETICULATING NEGATIVES

COPY
KODAK PLUS-X Pan or KODAK TRI-X Pan Film. After you have exposed the film, reticulate it by following the steps at the top of this page. If you do not like the way the reticulated result turns out, you haven't lost the picture becaus the original negative (processed normally) sti 11 exists.

Dll1ce the process of reticulation can I)() somewhat unpredictable and noniuvorslble, you may prefer to develop Vlltl' original film normally and then dll,;ldo later which images on the roll VI ill wnnt to reticulate. Start with an 11.\0,111111 print in either color or blackIIld whlto. Using even illumination, 11 Ij 'V IlIln print by photographing it on

A copy negative was made from the straight print on the top and then reticulated by following the steps on page 180. Since contrast Increases somewhat in copies, choose original pictures that have good shadow and highlight detail.

Ino

181

KEITlI

BOAS

You can exaggerate the reticulation pattern by substantially enlarging the negative and printing only a portion of the image.

1Cl produce this streaked pattern, the photographer squeegeed the reticulated film with his fingers while the film was still wet. Handle the film carefully during all steps in the reticulation process-the film emulsion remains quite soft until completely dry.

Il'fl

183

RETICULATING COlOR NEGATIVE

FILMS

KElTH

BOAS

Remember to keep your subjects for this process as simple as possible, and select subjects that will be improved with a pattern added to them. Many intricate subjects become busy and look jumbled when they are reticulated.

Many modern color films are hardened in manufacture. For this reason, it is difficult to reticulate them by the methods formerly used with unhardened color negatives and slides. You may find that you can achieve the effects you want by using texture screens such as are discussed and illustrated on pages 58 through 71. For those who wish to experiment with the effects of reticulation, we have devised a procedure that works for some films. It will work with KODAK EKTACOLOR Film and KODACOLOR Film that have been developed in Process C-22. It will also work with KODAK VERICOLOR 11 Film and KODACOLOR 11Film that have been processed in KODAK FLEXICOLOR Chemicals. It will not work for color print films and color slide films. We know of no simple way to reticulate the modern hardened print and slide films. The procedure to be described here uses a dilute solution of sodium hydroxide at an elevated temperature to reticulate the developed color negatives and KODAK Indicator Stop Bath solution (treated with isopropyl alcohol to keep it from freezing) at low temperatures to "set" the pattern. You can control the amount of emulsion oftening by the temperature and the oaking time in the reticulating bath. he other affect on softening is the hardness of the negative, which deponds on its age and condition of torage, before and after processing, nd on the type of film. Negatives from Iho same roll (or box, in the case of 110etfilm) will react similarly, but neglives from different rolls or boxes mny not. f1epeatable results can only be obIned if all the conditions of the pro(Jure, including film hardness, are

identical. For this reason, you may wish to experiment with expendable negatives or a scrap piece from the roll from which you want to make reticulated negatives. If you overreticulato the film, the emulsion will sag on the support or fall off tho support. Reticulation o llccts can 1)0 best achlovoc If you uso fl condonsor style enlaroer.

THE RETICULATION Materials Needed

PROCESS

KODAK Sodium Hydroxide (Packet 10 make 1 litre of 5 Normal solution) CAT No. 190 1040 KODAK Indicator Stop Bath (16 fl oz, makes 8 gallons) CAT NO. 146 4247 Isopropyl alcohol (rubbing alcohol) Thermometer that reads 0 to 212F (-18to 100C) Hot water bath Two 1-quart processing tanks or glass jars 100 mL graduate and 1000 mL graduate KODAK Film Clips CAT No. 149 2594 Rubber gloves Eye protection

Mixing the Solutions

1. Sodium hydroxide solution) (the reticulating

a. Mix 1 litre of 5 Normal sodium hydroxide according to the instructions on the packet. This is your stock solution. CAUTION: Follow safe handling precautions on packet. Sodi um hydroxide is corrosive; avoid contact with skin and clothing. Wear safety goggles and rubber gloves. b. Add 36 mL of the stock solution to 964 mL of water to make 1 litre of working solution. 185

11print made from a copy negative

reticulated

to produce

a coarse

pattern.

III I

IIll'lIlIlIl Add 3? mL of KODAK Indicator ~iI()p l3alh to 200 mL of isopropyl lioohol. 11 r o the solution from Step 2a, Ildd 768 mL of water and mix to make 1 litre of reticulation stop bath solution.

Finding the Right Time and Temperature

The temperature of the reticulation solution is critical because if the temperature is too high, you may lose the emulsion; if it is too low, the soaking time may be too long to be practical. You can find the best temperature by using the following technique: 1. Heat the reticulation solution to 150F (66C) and maintain that temperature by placing the container in a hot water bath. 2. Suspend a piece of scrap film from the roll or box of the film you wish to reticulate in the reticulation solution until the emulsion sags or separates from the base. a. Use film clips at top and bottom of the scrap of film so that 11 won't curl. b. Do not agitate the solution whit the film is suspended in it. 3. Note the time it takes for saggin{l or separation to occur. a. If the time is inconveniently lono, for example, 30 minutes, y011 can repeat the process at a tern perature of 160F (71C). If tilli, is still insufficient, increase till' concentration of sodium IW droxide stock solution in Ill" reticulation solution to 48 ml/l Do not increase the ternperatun or concentration further 1111111 this. b. If the process proceeds 1111' rapidly, for example, less thrill to minutes, reduce the ternprnn ture to 140F (60C) and roplllll the test. If this still results 1111111 short a time, reduce the conouu tration of sodium hydroxlrl stock solution in the reticulnllm

solution to 24 mL/L. Do not go below 140F (60C) or 24 mL/L. 4. The correct time to successfully reticulate the film is % of the time it takes to loosen the emulsion. a. For example, if at 150F (66C) and the normal concentration of the reticulation solution (36 mL of sodium hydroxide stock solution per litre of water), the emulsion of a piece of film starts sagging after 20 minutes, the proper conditions to use for the retlculation procedure are a 15minute soak at 150 F (66C).

5. Any change in tho COIIClIJlllulllolllJ1 the reticulation solutlon ollolllcl 1)( made by discarding 11101l01lilloll you used and mixing a now bruch from the stock solution. 6. A working solution that is successful may be used repeatedly without exhausting it.

Maintaining Solution Temperatures

AIM CONDITIONS
Reticulation solution temperature: 140 to 160F (60 to 71C). (Use a constant temperature once you have determined a successful one.) Time in reticulation solution: 7 to 15 minutes.

rho reticulation solution is used in the lornperature range of 140 to 160 F (60 10 71C). Since the soaking time in 1IIIs solution may be as long as half III hour, you will need a hot water bath III which to immerse the container so 10 10 hold the solution temperature constant. The bath may be a sink oquipped with a standpipe or a water bath especially constructed for this purpose, complete with an immersion heater. The reticulation stop bath solution is used at a temperature of 25F (-4C) for 1 minute. To obtain this temperature, follow this procedure:
1. Put the reticulation stop bath solution in a freezer until it becomes solid. Remove the frozen solution from the freezer and put the container in cool water until the solid begins to melt. 3. You will know that a temperature of 25F (-4C) has been reached when the last frozen piece disappears. ~ While you are using the stop bath, keep track of its temperature, and If Ihe temperature rises to 30F ( 1 QC), return the solution to the Illlo/er until it begins to solidify.

Reticulation

Procedure or cut a frame or a few frames from

1. Select a sheet of film for reticulating a roll of film.

2. Fasten KODAK Film Clips to the top and bottom of the film. The film must hang freely in the solution without contacting the sides or bottom of the contai ner. 3. Suspend the film in the reticulation-solution container mined time and at the predetermined temperature. dislodge air bubbles. a. DO NOT AGITATE THE FILM ANY FURTHER. at the predetermined level for the predeterRap the film to

b. Maintain the solution temperature throughout the soaking period.

4. At the end of the predetermined

the reticulation

time, GENTLY remove the film from solution and drain it for 15 seconds.

GENTLY immerse the film in the stop bath for 1 minute at 25 50F (-4 3C).

6. Wash the film in still water at room temperature for 1 minute with gentle
agitation. Remove the film and change the water.

7. Repeat Step 6 two times.

a.

Hang the film to dry at ROOM TEMPERATURE.

a.

Do not squeegee the fi Im. air or heat.

h. Do not attempt to dry the film rapidly with circulating

OPTION TO DRYING-the

film may be freeze dried (see below).

NOTE: The above procedure can be used with black-and-white film if tho reticulating solution is made of 18 mL of stock solution per litre of wilier. q

1/1/,

187

3. resemble the surface of a #400

grit sandpaper

after seven 1111111111

4. resemble the surface of a #200 grit sandpaper after eight mlnuton. AI this stage, water bubbles under the emulsion may cause some sflrHll11 during drying. 5. loosen, sag, and mottle after nine minutes. The fiim is very difficult to handle and the results will be mottled with smooth areas, finely reticulated areas, large Clumps, and sagged, stretched out areas. If you removed the film from the sodium hydroxide solution too soon and a reticulated pattern isn't formed, all is not lost. Reimmerse the dry film in the sodium hydroxide. The effects are cumulative so only a short additional time may be needed. Aftlilr several films have been reticulated, a cloud of particles may appear in your sodium hydroxide. Filter or decant or discard the solution. Soft, reticulated emulsions are sensitive to damage from dirt.

PECIAL EFFECTS ROM FREEZING You can create very interesting effects
\I you freeze your wet film before dryit. With normally processed film, tile emulsion is generally too hard, but n emulsion that has been softened y reticulation will contract when fron. Using this method, you can salvage those test films that may not have

Ing

reticulated with the other process. When you freeze film, you can vary the special effects by controlling the amount of moisture left in the emulsion. A very wet emulsion will form leafy frost patterns. You can create localized leafy patterns by gently touching the partially dry emulsion with a wet finger, forming a "water spot."

1111 III IIICK

C.

ENRICH

In this photo three levels of reticulation are hown: (1) fine, (2) coarse, and (3) emulsion paration.

The delicate pattern of the flowers in this photo is complemented by the fine reticulation pattern in the background.

Freeze Drying (as an Alternative to Air Drying) for Color Films

1. If you intend to freeze dry, the final still wash (see reticulation procedure) should contain about 3 drops of liquid dishwashing detergent. Drain for 15 to 30 seconds. Use a frost free freezer with circulating air. Frost patterns can be regulated by the orientation of the film and amount of water in it when it is freeze dried. For example, film dried while it hangs will have frost patterns that grow from the bottom of the picture. Flat dried film (emulsion up) will have patterns that originate from water spots wherever they are on the film. Patterns can be added by local wetting of the film by touching it with a wet finger.

RETICULATION

by INSPECTION:

With a little practice, you can learn to reticulate your film by inspection. The coarseness of the pattern can be readily judged. While making your first test of a new film emulsion with fresh chemistry, GENTLY remove the film from the sodium hydroxide solution. Allow a few seconds drain time and examine the drained emulsion area. Then reimmerse the film. This should take no longer than 7-9 seconds. For example, if the emulsion begins to come off in 10 minutes, then the ornulsion will: I, be swelled and smooth surfaced at the end of five minutes. ", resemble the surface of a #600 grit sandpaper after six minutes.

.1, Once the film is frozen, it appears dry; however, actual drying may take
24 to 48 hours. 1\, To keep condensation from rewetting the emulsion when you remove it from the freezer, direct cool air from a hair dryer at the film until the film is brought to room temperature.

IfIO

189

larization the abattier Effect

he Sabattier Effect produces both photograph and is characterized by Cotor pictures with this effect show ffect is produced by reexposing developer.

a a

negative and a positive image in line around the edge of the subject. vivid, unnatural colors. The Sabattier to light while it's in th

the film or paper

With the Sabattier Effect you can produce photographs in black-and-white or color from color slides, and from black-and-white and color negatives. (1) This is the original color slide used to create (2) and (3). (2) A print made from a negative on KODAK Commercial Film. The color slide was printed onto a sheet of Commercial Film; then the film was given the Sabattier Effect during processing. Refer to page 197. (3) A color slide exposed directly from (1) onto a color print film through a color filter. During the development, the film was reexposed through a different filter. Refer to page 219.

PH)

191

True solarlzation is caused by extreme overexposure-about 1,000 times the amount required to produce a normal negative image with normal development. Solarization produces a reversal of the image, and both positive and negative images will be visible on the film and in the finished print. Years ago, solarization used to occur quite regularly in long, time exposures taken at night. The lights in the scene would be so overexposed that they would reverse and produce a positive image on the negative. Solarizatior] is very difficult to achieve loday because films have been improved to the point where this reversal Is almost impossible to produce. Many people incorrectly refer to the Sa battier Effect as solarization because these two techniques produce such Imilar-Iooking images. The Sabatlier Effect produces both negative and a positive image on the same film, but this effect is hieved by reexposing the film durIng development rather than extreme verexposure in the camera. The alady developed image acts as a neglive through which the rest of the ht-sensitive silver in the film is exed. Thls-producss some reversal I the image and the result is part Itlve and part negative. If reexporo is long enough, the resulting posVD will develop to a greater density n the original negative image. here is a simple way to determine lher a picture has been made by Ilrlzation or by the Sabattier Effect. abattier Effect produces a narlino or rim of low density, called a I. Line, between adjacent hight nnd shadow areas. The Mackie occurs because there is always lnnronsec concentration of brom1111 In the emulsion at the boun-

dary separating a completely developed area from one that's just developing. The bromide along Ihose boundaries greatly relards devolopment, forming a more or loss clear line. when thls negative is prlnlod, the Maeklo lino wl.II apponr us a black outltno nround 1110 prlllclplIl II110ge contours. Ilia Mncklo I lno In 1I0t very evident 011pr/l1tl) IIlIlcl(J whon 1110 SAballier rrfeel Is PIOclIlC(Jcl whllo pIOcesslng Ihe paper. The Sabattier Effect can be produced with both film and photographic paper. You can use any white-light source for the reexposure step. The easiest light to use is the light in a safelight positioned right over the sink. Of course, you'll have to remove the safelight filter if you use this light. The most difficult part of the Sabattier Effect is determining the length of the reexposure. If you always use the same light source, keep it the same distance from the film or paper for each exposure, and keep good written records, you'll be able to determine the best reexposure time for your situation after a few experimental exposures. It's possible to produce dramatic pictures by the Sabattier Effect with any film or photographic paper, but there is an advantage to working with film rather than paper. After producing a negative with the Sabattier Effect, you can make as many prints as you want from that negative. If you use the Sabattier Effect on paper, you may not be able to produce another print exactly the same-very frustrating! The films and papers discussed in this chapter have produced good results, but you could probably get equally good results with any film or paper after some experimenting. The information given here is simply a

This picture was made from a slide showing the Sabattier Effect. The slide was made using the technique described on page 219. Original exposure 20 seconds through a 1 filter; reexposure 20 seconds through a 3 filter.

t!I"

193

THE SABATTIER EFFECT IN BLACK-AND-WHITE Prints

A few subjects will produce interesting pictures when the Sa battier Effect is tried directly on a print; however, most prints simply look as though Ihey've been accidentally fogged. You can use reducer to bring out the highlights in these prints just as you would with other black-and-whlte prints. Refer to pnge 36. If you're not happy with you: results, try printing your 110gative or slklo 01110. 1<001\1( Commcrolal Film GI? I ClI 11Ill[J11contuuu illm.

With the Sabattier Effect on a highcontrast film, such as KODALlTH Ortho Film, you can create this outline effect. The high-contrast sheet film was then photographed with colored filters behind it to create a calor slide. This same film could also be printed onto paper.

BARBARA

JEAN

guide to get you started in the darkroom, and you should adjust the process to meet your specific situation. These variables affect the amount of reversal: 1) The amount of reexposure, 2) The extent of development after reexposure, 3) The time during development when the reexposure takes place. If the reversal effects are loo strong for your taste, reduce the raoxposure or develop the film longer before giving the reexposure. If you want to obtain more reversal 01 lanes, increase the reexposure or 111111<0 the reexposure earlier in the .Iuvotoprnent. As a rule of thumb, re11)(IHJi,() the film or paper at about one1IIIId 011110 development time, or when

a light image is visible. Stop agitatirlll ten seconds prior to reexposure anrl allow the film or paper to settle to tllII bottom of the developer tray. Altru reexposing, continue the develop ment to the normal development tluu for the fi rst exposure and use COil ti nuous agitation. To get the best results with the till battier Effect, use fresh developer nllt! stop bath solutions. With experient I' you will learn to pull the film or POI"II from the developer when you see 1111 effect you want. A fresh stop bath 1ft'I necessity for stopping the action I" the developer quickly and presorvluu the image you saw in the develol">l

These prints were made on KODAK POLYCONTRAST Rapid Paper. (1) This is a straight print. Prints (2) and (3) show the Sabattier Effect. They were developed in KODAK DEKTOL Developer 1:1 for 30 seconds and reexposed to a 15-watt lamp 4 feet from the paper, then development was continued for another minute. Print (3) was treated with KODAK Farmer's Reducer to lighten tile highlights. Prints given the Sabattter Effect tend to look very dark and as though they've been accidentally fogged. This technique is much more effective on films.

I LIl

195

Film
Negatives made with the Sabattier Effect have a high fog level and they nre difficult to judge visually. It's important to make a print before judgIng the effects. These negatives will usually print better on a higher-thannormal-contrast paper. Urns Exposed in the Camera. You cial film during the processing, nothing is lost; you still have your original image in good condition and can print as many additional sheets of commercial film as you need. If you plan to try the Sabattier process on film you exposed in the camera, be sure to expose at least three negatives at the same exposure and of the same subject. If you're using roll film, expose the whole roll of the same subject at the same exposure, then cut the roll into three parts for the processing experiment Process one sheet of film or part of a roll at a time and make a print from it to determine any changes you would make in processing the second sheet or portion of the roll. With this method, you should be able to get a good result by the third sheet or the end of one roll of film.

csm try the Sabattier Effect directly on

films exposed in the camera, but since 11 takes so much experimenting to get the proper reexposure, you take a hance on ruining the film. Also, most unera films are panchromatic and must be developed in total darkness Cl you can't see the effect until deVulopment is complete. It's much eas/or to process your camera film in the orrna' way and then print it onto a hoot of film, such as KODAK Cornrcial Film. If you ruin the commer-

This print was made from a 4 x 5-inch sheet film negative on KODAK PLUS-X Pan Film. The background was dodged during the original exposure so that it would be underexposed if processed normally. After 1Y2 minutes in developer, the print was lifted from the developer and placed on the back of the sink so that the excess developer ran off diagonally. The room light was turned on for 3 seconds, and then the print was put in the stop bath and fixed.

THE SABATTIER EFFECT WITH KODAK POL YCONTRAST PAPER

Use a KODAK Safelight Filter OC (light amber). 1. Make a test strip to determine the exposure for a normal print and process the paper in KODAK DEKTOL Developer 1:2 at 65 to 70F with continuous agitatiqn. 2. Print a fresh sheet of paper using the printing time you determined from the test strip. 3. Set your timer for 1 minute, 30 seconds-the total development time and start timing with development. 4. Develop the paper with continuous agitation for 20 seconds, then turn the paper emulsion side up and allow it to settle to the bottom of the tray for 1 0 seconds with no agitation. 5. Reexpose the paper to white light whi le it's in the developer. (A safelight without a filter or the enlarger light works fine.) G. Begin agitating after the reexposure and continue the development to the total development time of 1 minute, 30 seconds. I. Rinse the paper in stop bath, and fix, wash, and dry the paper according to the instructions on the paper instruction sheet.

THE SABATTIER

EFFECT WITH KODAK PLUS-X

PAN FILM

Process in total darkness.

I. Process the film in a tray in KODAK HC-11 0 Developer diluted 1:16

at68F. Set your timer for 3 minutes-the timing with development total development time-and begin

Develop the film for 1 minute, 20 seconds with continuous

agitation,

then turn the film emulsion side up and allow it to settle to the bottom
of the tray for 10 seconds with no agitation. noexpose the film to a white light while it's in the developer. (1\ safelight without the filter or the enlarger light works fine.) Ilogin agitation again after the reexposure and continue the dovelopment to the total development time of 3 minutes. 11Insethe film in stop bath, and fix, wash, and dry the film according III 1110 instructions on the film instruction sheet.

\!II 197

(1)

Prints made from KODAK PLUS-X Pan Film, 4 x 5-inch sheets exposed in the camera and developed in a tray in KODAK HC-110 Developer (1:16) for 3 minutes at 68F. (1) This was developed and printed normally. Print (2) shows the Sabattier Effect. After W2 minutes in the developer it was reexposed for 2 seconds at f/22, and then development was continued for another 1V2 minutes.

Prints made from KODAK PLUS-X Pan Film, 4 by 5-inch sheets exposed in the camera and developed in a tray in KODAK HC-110 Developer (1:16) for 3 minutes at 68F. Both prints show the Sabattier Effect and the only difference is in the amount of reexposure given during processing. Both negatives were reexposed after 1Y2 minutes in the developer. Print (1) was reexposed for 2 seconds at 1/22and (2) was reexposed for 4 seconds at 1/22.When the length of the reexposure is increased, the reversed image becomes more visible.

1'111

(2)

199

Films Exposed in the Darkroom. Printing a negative or slide onto a sheet of film in the darkroom and trying the 8abattier Effect on the sheet film rather than on your original film is the safest way to experiment with this process, As we pointed out before, if you try the darkroom experiments on your original image, you run the risk of ruining it. However, if you save your original image and use it to print onto other films, you can oxperiment to your heart's content without damaging the original film, Films rrade for copying continuouslone originals can often be processed under the light of a safelight so you CAn see what you're doing, More important, you can watch the image devolop and pull the film out of the devoloper when you see the results you want. The development times given hare are only guides, This is the one lime when it's quite permissible to Ive in to that urge to pull the film out f Ihe developer too soon or to leave I in longer than the recommended tmo. With experience, you'll be able judge the development visually and nlrol the process by snatching the Im out of the developer at just the ht moment and plunging it into a h stop bath to immediately stop nction of the developer,

KODAK Commercial Film 6127 is a good film to use for the 8abattier EffecI if you want a continuous-tone result. It's easiest to start wilh a color slido which will produce A negative imngo on Iho comrnorclnl film. The 881)011101 l Tloct will 11I1IIU 01111110 dotail il1 the uhndow rlICHIt) ()I 1110alldo, so solocl Cl plc;lllIl) 111111 lIill! 11I1()")~11 ing shadow <lolnl/. II YOII lliil) It IlU[!lI tive as 1110 ollulllnlllllfICj(), YOII'IIII()()d 10 comacr pt lnl tho lliul tJllUOIof Call) mercial film onto another shoo: ol Ittm to convert lhe image to a negallvo, 01, you might get some interesting resulls by trying the 8abattier Effect on the positive commercial film, Try it-if you don't like the results, you can always take the process one step further by making a negative, If you make your original exposure properly, a full image will be visible on the commercial film after 40 seconds of development. The film will turn almost black in a few seconds after reexposure. Resist the temptation to pull this film from the developer before the full development time, because the film will clear and become much lighter after fixing, Once you are familiar with how a well-exposed film looks in the developer, you can visually judge the development and pull the film at the right moment.

I1 print shows the Sabattier Effect in the lower portion of the IIlIro only; the photographer wanted to create tension in the picture "Wllnn the real and the unreal, The negative on KODAK PLUS-X ~lIm (4 x 5-inch sheets) was exposed in the camera and loped in KODAK HC-110 Developer (1 :16) for 3 minutes at 68F Irny, After the film was in the developer for 1 '12 minutes, the 110111 half of the negative was reexposed, and the development IInulld for another 1'12 minutes. Since the top half of the negative Ivac! only the original "normal" exposure, it does not show any AI, While the bottom half of the negative (and print) shows hnltler Effect.

201

DAROARA

JEAN

The Sabattier Effect will bring out the detail in the shadow areas of a calor slide. The pllings under the dock were hardly visible in the original slide. The slide was printed onto KODAK Commercial Film 6127with an exposure of 5 seconds at f/22 and the film was processed in KODAK Developer DK-50 (full strength). After 40 seconds in the developer, the film was reexposed for 5 seconds at f/4.5; then development continued for a total time of 2 minutes.

THE SABATTIER EFFECT WITH KODAK COMMERCIAL FILM 6127

Use a KODAK Safelight Filter, No. 1 (red) 1. Make a test strip to determine the exposure and process the film in KODAK Developer OK-50, full strength, for 2 minutes with continuous agitation. Select the best printing time from the test strip. 2. Print your original image onto a sheet of commercial film using the printing time you determined from the test strip. 3. Set your timer for 2 minutes-the total development time-and start timing with development. 4. Place the film in the developer with the emulsion side up and develop with continuous agitation for 30 seconds, then allow the film to settio to the bottom of the tray for 10 seconds with no agitation. 5. Reexpose the film to white light while it's in the developer (40 seconds of development at this point). (A safelight without a filter or the enlarger light works fine.) 6. Begin agitating again after reexposure and continue development for the total development time of 2 minutes. 7. Rinse the film in stop bath, and fix, wash, and dry the film according to the instructions on the film instruction sheet.

The Sabattier Effect on KODAK Commercial Film 6127.The film was printed from a col or slide with an exposure of 5 seconds at f/22. After 40 seconds in KODAK Developer DK-50 (full strength), the film was reexposed for 3 seconds at f/16.

J()"

203

Printed from a color slide, this sheet of KO OAK Commercial Film 6127 looked like a poor exposure. After a minute or so in the developer it was placed in the sink to drain before being thrown away. The room lights were turned on briefly and several minutes went by before the film was noticed. By then an interesting image had appeared, so the film was fixed and washed in the usual way. The moral is: discards occasionally can develop into something!

BARBARA

JEAN

8. PAUL

KUZNIAR

..

-.~-'

-~~-.

..;..:r.:'=-:. ~

-~

.:...:.:.-=.-

High-contrast films produce drarnatIc results with the Sabattier Effect. The Mackie Line around the image is very evident with these films. By adjusting the reexposure time, you can produce a very high contrast image which also Includes some gray tones in the areas that were reexposed. By using a long reexposure or exlending the development time so that the reexposeo image is the same density as the original, you'll produce black film with the subject outlined In a clear Mackie Line. If you're trying 10 achieve only an outline of the subloct, start with a high-contrast fi Im osltive. Print the film positive onto nother sheet of high-contrast film nd reexpose the second film during the development. These dense negatives require long xposure times in printing, and you n save time in making prints by ntact-printing the film with the Saltier Effect onto another sheet of Igh-contrast film. When this second Urn is printed onto paper, you'll have black print with the subject outlined white. To produce a white backund with the subject outlined in liCk, contact-print the second highntrast film onto a third sheet of the film, and then print that film on

. r. If KODALlTH
In your
BARDARA HAN

Ortho Film 2556, Type choice, process it in

KODAI.ITII Super RT povoropor. You should wnlt until tile Iflllt rnlnuto to mix the two nlock 11011l1lol1D IO(Jollwf find use only n llllHIIIIII1l011l11 01 duvulopor, because tl118(ICI/V(Jdovulopu: oxlul, very qulckty. 1110dovolopr will ox haust itself In El fow IIOlllD If you mlx It and then don't USG It, so novor try to store the developer once you've mlxod the two so Iuti ons toget he r. El g hi ounces of solution in a 5 x 7-inch tray will develop three sheets of 4 x 5-inch KODALlTH Film. To keep your results consistent, discard the developer after three sheets of film and mix up fresh developer. You can continue to use developer for more than three sheets of film if you increase the processing time. Since you can watch the film developing, continue the development until you see the results you want. With either film, agitate the film continuously in the developer prior to reexposure but do not agitate the film after reexposure. If you agitate the film after the reexposure, the reexposed areas will have a mottled or streaked appearance. This phenomenon is called "bromide drag," and is caused by the heavy concentration of bromide produced during the development of the high-density areas. By not agitating, you can prevent bromld drag and obtain a more vivid Mackie Line.

With high-contrast

films, the Sabattier Effect produces an outline Another version of this picture is on page 157.

of the image.

205

~OI

III

This is a positive on high-contrast film, and it was used as the original image for this series of pictures on the Sabattier Effect. If you're trying to create a picture with this technique that shows only the Mackie Line, you'll get the best results by starting with a high-contrast original.

BARDARA

JEAN

Here's what the film looks like after it's reexposed and completely processed. As you can see, it's very dark and would require a long exposure time for printing.

BOB

CLEMENS

DARIIAItA

JltAN

I Illnrge the high-contrast original onto another sheet of high-contrast film, and during the development, reexpose the film to white light to create the battler Effect. These pictures were taken in a home darkroom. One of the N!I\lnntages of working with an orthochromatic film is that you can use a red safellght and actually see what you're doing.

You can avoid long printing times by contact-printing the dark film onto another sheet of high-contrast film. After contact-printing ur1d processing, the resulting film will look like this and be very OIlUY to print. This film would produce a black print with white cutllnos If you want the final print to look like this film (with black outlinoa on a white background), you have to go one step further end contact-print this film onto another sheet of high-contrnOI Iltm.

207

. A print made from a ~ high-contrast film which was reexposed during development to produce the Sabattier Effect.

JAMES

LOTT

THE SABATTIER EFFECT WITH KODALITH ORTHO FILM 2556, TYPE 3

Use a KODAK Safelight Filter, No. 1A (light red) 1. Make a test strip to determine the exposure and process the film in KODALlTH Super RT Developer (equal parts of Solution A and Solution B) at 68F with continuous agitation for 2% minutes. 2. Print the original image onto a sheet of KODALlTH Ortho Film using the printing time you determined from the test strip. 3. Set your timer for 2% minutes-the total development time-and start timing with development. 4. Place the film in the developer with the emulsion side up and develop with continuous agitation for 50 seconds, then allow the film to settle to the bottom of the tray for 10 seconds with no agitation. 5. Reexpose the film to white light while it's in the developer. (A safelight without a filter or the enlarger light works fine.) 6. Allow the development to continue without agitation forthe total development time of 2% minutes or pull the film from the dovolop when you see the effect you want. 7. Rinse the film in stop bath, and fix, wash, and dry the film according to the instructions on the film instruction sheet.

"

.'-

...
~ -' __ ~~.

r" J,
~.'>

) .
a) /'

'>.

Save your rejects and experiment with them! In working with films, you may print some that are too light or too dark. Don't throw them away! Wash and dry them just as you do your good films, and then use them for experimenting. This picture is a sandwich made from "extra" films that were put together in register and when one film was rotated slightly, a new picture emerged.

'11

209

CAROLE

J.

HON

IGS FrI

This print showing the Sabattier Effect was printed from a sandwich of two films. A normally exposed high-contrast positive was made from a negative on KODAK PLUS-X Pan Film. Then a very light negative and a normal negative were made on high-contrast film from the high-contrast positive. The normal negative was reexposed halfway through the development to create the Sabattier Effect; then that negative was contact-printed onto another sheet of high-contrast film to produce a film with a clear background and black outline. This outline film was then sandwiched with the light negative made earlier and the two films wore printed together to produce this print. The Sabattier film produced the strong white outlines, and the light negative produced the detail in the picture. This print is from a slide that was reexposed during developmnnt 10oront the Sabattier Effect. This technique Is very hard to repeat will! ClXllot1y the same results, so if you plan to make many prints, it's o(lIIlur to do the Sabattier Effect on film and then print from 111/11.

,I()

211

THE SABATTIER EFFECT IN COlOR

rho Sabattier Effect gives even more dramatic results in color than in blacknd-white. In addition to creating a negative and positive image outlined with a Mackie Line, the Sabattier Effect creates new and vivid colors. With the Sabattier Effect in color you can create vivid, wild colors in a photogr,aph-colors that look unreal and have no relation to the "normal" colors in the orig.inal subject. Using white light for both the original exposure and reexposure steps will create brilliant colors, or you can use colored filters over the light source during these exposures. There's a great variety of combinations you can create with filters or by using white light for one exposure and a filter for the other. The filters listed below produce good results, and so will other filters. Experiment with those you have on hand to see if you like the colors they produce. Use the filters below as a guide to the color range. The color listed in the right-hand column is the color that filter produces with a blackand-white original with reexposure during development. When you're printing from a color negative or slide, the color in the film acts as a filter and the color produced by the first exposure also acts as a filter during the reexposure, so the final results might not always be exactly the color you oxpect.
nltar No. Calor of Filter Calor Filler Produces

A 4 x 5-inch film was given the Sabattier Effect using the process on page 209. That film was then copied onto 35 mm high-contrast film to produce this slide, which was used to produce all the slides in this series.

OE one min. fiB w/29; RE,30 sec. fiB w/WL.

OE one min. f/8 w/47B; RE 30 sec. f/8 w/47B.

OE one min. fIB w/40Y; RE 30 sec. fIB w/29.

OE one min. fiB w/61 ; RE 30 sec. f/8 w/WL.

OE one min. f/8 w/29; RE 30 sec. f/8 w/29.

OE one min. fIB w/40C; RE 30 sec. fIB w/WL.

OE one min. f/8 w/47B; RE 30 sec. f/8 w/WL.

OE one min. 1/8 w/61; RE 30 sec. f/8 w/61.

OE one min. fIB w/40M; RE 30 sec. fIB w/29.

OE one min. f/8 w/29; RE 30 sec. f/8 W/61.

OE one min. f/8 w/47B; RE 30 sec. f/8 w/40M.

'IOY IIOM IIOG .q I

1'711 In

yellow magenta cyan deep red deep green deep blue

blue green red cyan magenta yellow

OE one min. f/8 w/40Y; RE 30 sec. f/8 w/WL.

OE one min. f/8 w/47B; RE 30 sec. f/8 w/29.

OE one min. (/n w/47B; RE 30 soc. r/o w/01.

OE = origl'lI,l

WL

white light

213

Prints
I () achieve the Sabattier Effect on IIIIIIIG being processed on the KODAK IInpld Color Processor, it's necessary I11 11I1\fl Ihe print off the drum for the IIIP.plllltJre step. In taking the print 1111 11111 drum, keep the blanket and pr 1111 IIJ(joU,cr and lay them on the

back of a darkroom tray with tho blanket against the tray and the prinl facing emulsion side up. Reexposo the print and then put it back on tho processor. For easier handling, keop the print and the blanket together fll all times. Continue processing in 11111 normal way.

The original exposure for both prints would be 11 seconds at f/11 with /1 IlIlu/ pack of 40Y and 10M on KODAK EKTACOLOR 74 RC Paper. The print on 11111 IlIfl was processed normally. After 1 minute development, the print on tho lIullt wn reexposed for 1 second to white light from a 15-watt bulb at 'I fllf.Il

It,

215

(1) A normal print from a color negative. Prints (2) and (3) were printed from the same negative onto KODAK EKTACOLOR Paper and processed on the KODAK Rapid Color Processor. During development, they were reexposed to produce the Sabattier Effect. (2) Original exposure 11 seconds at f/11 with a filter pack of 40Y and 10M; reexposure after 1 minute development-2 seconds to the white light from a 15-watt bulb at 4 feet. (3) Original exposure 11 seconds at f/11 with a filter pack of 100Y; reexposure after 1 minute development-1 second to the white light from a 15-watt bulb at 4 feet.
+-(1)

(2)+

BARSARA

JEAN

Slides
Slides produced by the Sabattier Effect show extremely vibrant colors throughout. By using the Sabattier Effect, you can turn ordinary slides into exciting, extremely colorful slides. This method even offers the opportunity to turn black-and-white negatives into color slides if you start with an image printed on a high-contrast film. Continuous-tone black-and-white and color negatives do not produce good results. If you want to produce the Sabattier Effect from a black-andwhite or color negative, print the negative onto a high-contrast film and use the resulti ng film positive as your original. The process of creating the Sa battier Effect in a slide involves the use of KODAK VERICOLOR Print Film 4111 (ESTAR Thick Base)-for making transparencies-and a KODAK FLEXICOLOR@ Processing Kit. KODAK VERICOLOR Print Film is a sheet film, and the 4 x 5-inch film will produce 6 slides at a time. The C-41 chemicals for processing the film are available in kit form in one-pint size. The chemicals can also be purchased separately in one-gallon size (developer, bleach, fixer, or stabilizer). The temperature of the chemicals recommended by the instruction sheet Included in the processing kit is 100 I 0.25F (37.8 0.15C). For purposes of creating the Sabattier Effect n color transparencies, the temperature of 75 to 80F (24 to 26.rC) appears to give consistent results, and Is more manageable in most darkroom Iluations. If a higher temperature is used, an adjustment must be made in tho exposure times.

mounts) to the Inoldll enVoI III lilt glass with the ernulnlon (dllllnll/II) facing down. Slides 01 1<01lA11111 Films must be placed III tIlwll fI manner that a 4 x 5-lncl1 ulf(J(J101 film will cover them. A goo(l Wild for taping the slides to tho (JlfIll(" is a piece of 4 x 5-inch cardboard, which is included in the packa of VERICOLOR Print Film 4111.

KODALlTH Films or color slides taped inside the cover glass with emulsion (dull side) down or facing cardboard.

Cover glass

Cardboard guide
(4

5)

Foam rubber base

This print was reexposedto the light from a penlight after

1'/, minutes development. By using a penlight, you can easily

reexpose selected areasof the pri nt.

THE SABATTIER EFFECT WITH KODAK EKT ACOLOR 74 RC AND 78 PAPER and the KODAK Rapid Calor Processor
Use a KODAK Safelight Filter, No. 10 or No. 13 (dark amber) 1. 2. 3. 4. Expose the print as you normally would. Prewetthe print in a trayofwaterforabout 30 seconds. Place the print on the drumand develop it for 1 minute. Take the print off the drum, place it on a flat surface, and reexpose it to white or colored light.

5. Put the print back on the drum and continue development for another minute-total development time of 2 minutes.

n,

. Setup:

Follow all the remaining processing steps as you normally would.

1.

Using a contact printer, tape six 35mm KODALlTH Films or color slides (after removing from their

2. Since the result of this process Is unpredictable until you become fully familiar with the technique, It is a good idea to do a "test strin" in the same manner as maklno OllC for black-and-white or colot pIIIII. The "test strip" can bo dOlllJ by taping small pieces of flll,,' 11111" across the KODALlIII I 11111'1 III color transparenclen. 11111" nlrlp must be taped on tho OIII/lId" III III glass of the contnc: pllllllll NOT in contact with Ill" III"lB. Just about any type 01 (JoIIlI tlitor or gel will work. One IIIIJXPlIlHllve source is theatrical coin/ ools. Letraset color gel shontn, which can be purchased at rnont OUlpi1lc arts stores, will also WOI1<. 219

'11.1

~ ~ ~
Strips of filter material

The wash tray with running water can be used for both washes. Use about 8 ounces of each chemical if you're using 5 x 7-inch trays, and discard the developer after processing 3 sheets of film. Discard the other chemicals after processing 6 sheets of film. 6. Turn out lights. Open box of KO OAK VERICOLOR Print Film 4111 and remove the two 4 x 5inch pieces of cardboard inside the foil package. Return film to foil package and lighttight box. 7. Turn on lights. Take one of the cardboard sheets and use this as a guide to see whether your originals will fit in the area. In using a glass type printer, place the cardboard on the foam backing (see the illustration in step 1).

4"

5"----1

When the film is positioned as above, the emulsion side is facing up. 10. Insert film in contact printer.
Filter strip (outside glass)

15. Remove film trorn liIIVld(1Il"1 111111 place it in the tray 01 wIIIIJ\ 1111111 quite slippery and soil no 11I11lI"1 ful. Notch on film should IlIJ Oil 1111 lower right so that emutston III lno ing up when in the water. Reexpose film for 30 secondr through the deep yellow flltor. When the enlarging light goes on you should see a black-and-wllllo image of the KODALlTH Films or color slides. If no image appears on the film being developed, th absence can be due to (1) insufficient first exposure (remember this will vary from one enlarger to another), (2) expired developer, or (3) emulsion was facing down during reexposure. If the black-and-white image on the film being developed is TOO dense, the film image going almost black, then the first exposure was too long and it is overexposGd. Regardless of what the imag looks like at this point (assumin your developer is good), continu to process the film to the end. This will be a guide for adjustments. Do not move the water tray during exposure. The surface should be very calm, as ripples may causo diffraction of light which in turn affect the resulting colors. 16. Remove film from water and 10111111 to DEVELOPER for 1% MINlJI/:) . 17. Bleach-6% minutes. Remaining steps can Iw tI(11I11 III normal room illuminnlloll 18. Wash-3 % minute

Do not overlap filter strips-leave a small space between strips-the space will be a white-light exposure. 3. Set the enlarger lens to one of the following openings, depending on your enlarger:
ENLARGER Omega D-2 w/165 mm lens Super Chromega B/90 mm lens Other enlargers50 mm lens LENS OPENING 1/8 1/4.5 wide open ILLUMINANT (Bulb No. 212) (Bulb No. 211) (Bulb No. 211)

Cardboard guide (not necessary to remove during exposureCode notch place film on top) Original (emulsion downinside glass cover)

8. Turn out lights.

9. Open box of KODAK VERICOLOR Print Film and remove one sheet of film. Notice that the film has an identification notch on one corner. Turn fi Im (see sketch) so that notch is in the lower right-hand corner.

11. Cover entire frame of printer with a

sheet of cardboard. You are going to use this to expose the film in strips. Set timer to 60 seconds, and turn on enlarger. Move the cardboard 3 times in 15-second intervals to expose a portion of the film. When you finish, you will have exposed one part for 60 seconds, the second for 45 seconds, the third for 30 seconds, and the fourth for 15 seconds.

4. Raise enlarger head SO that light path will cover the area of the contact printer. 5. Set up chemicals for developing. The temperature of the chemicals should be around 75F (24C). Extreme temperatures affect the exposure times.

. Move contact printer to one side. Do not remove cover. Place the
second color filter in the filter drawer (the first filters are the strips taped to the glass). Use a deep yellow-this gives some shade of blue in areas of a KODALlTH Film which were black. . Place a small tray of water beneath onlarging lens. Hernovs film from printer and devolop for 2% MINUTES.

~~~~~,
I IlIiVI-I (ll'rR
2

3 WASH

4 FIXER

5 WASH (use tray number 3)

6 STABILl7.lll

BLEACH

19. Fixer-6% minutou (111111 will now change corers- ICl 1IIIIn wllh images appearinq 10 IIIdu away. 20. Wash-3% 21. Stabilizer-1 22. Dry 221 mlrlllllll

V;,

IlIllIlIlos

'.

!' ..

-r,

x:
~

',,",

t'\'1 r,," . '

I.' ."

,
,I

l'

~JI\:I~r'

.:::~\l"l;~~:ill)~

::\?'::',;; .."';';;;j.;':(';:r~,~)i:~~jc:i, l"'" . "/.',\1; "''\~~~'.i',I,*:l~{t,~~J

(1) KODALlTH Ortho Film negative from an EKTACHROME Film original.

'iC",. :,'1' '~;t}: .. -.~.' ~;.~'~"':~\.'~~~:;-:1(~.:~::~1IJ"-~t~~J '-~. '. ~" ','

(6) Original exposure 3 filter, 20 seconds, Reexposure white light. 5 seconds,

(1) This is the original slide and (2), (3), and (4) are samples of \11(1 derivations you can create with the Sabattier Effect on KODAK VERICOLOR Print Film 4111 (ESTAR Thick Base). (2) was contact printed from (1); the original exposure was white liglll for 15 seconds, and reexposura was 15 seconds through a 1 filtol (3) was also contact printed from (1); original exposure through n 5 filter for 30 seconds, reexposure through a yellow filter for 20 seconds. (4) was contact printed from (3); original exposure. 30 seconds through a 5 filter. reexposure 20 seconds through a 3 filter. See page 22 for filter code.

(2) Original exposure 80C filter, 60 seconds. Reexposure white light. 5 seconds.

(7) Original exposure white light. 5 seconds. Reexposure 4 filter. 15 seconds.

,I) Oriqina!

exposure 3 filter. 20 seconds. Reexposure 2 filter. 15 seconds.

(8) Original exposure 1 filter, 20 seconds, Reexposure 3 filter. 15 seconds,

(9) Original exposure 2 filter. 20 second Reexposure 3 filter, 15 seconds.

Iglnal exposure white light, 5 seconds. xposure 2 filter. 15 seconds.

(10) Second generation of (0). Original exposure 5 (1IIor, ;>0anconds. Reexposure yellow (11101 :>'0 eoccnds.

223

(1) The original EKTACHROME Film transparency was contact printed onto KODALlTH Ortho Film (2), which was then printed on VERICOLOR Print Film 4111 as follows: (3) original exposure, 1 filter for 20 seconds, reexposure 3 filter for 15 seconds; (4) original exposure 2 filter for 20 seconds, reexposure 3 filter for 15 seconds; (5) original exposure BOC filter for 60 seconds, reexposure white light for 5 seconds.
(3)

(4)

(7)

(10)

(6) is a KODALlTH Film positive of (2), page 224. (6) was printed on VERICOLOR Print Film 4111 as follows: (7) original exposure 1 flllor for 20 seconds, reexposure 3 filter far 15 seconds; (B) original exposuro OOC for 60 seconds, reexposure whllo 1/(1111 for 15 seconds. (9) is a duplicato of (l') that has been colored with fell.llppllcI pens. (10) is a print on \fERICOI 011 Print Film using a 3 filter for?O seconds as the original eXj.lu~1I111 find a yellow filter for 20 seconcllllltl tho reexposure.

(~)

-... -'- '.;

'~"(5) ~~

...J1

(6)

225

(1)

(4)

Subjects with a full range of tones and good contrast produce the best results with the Sabattier Effect. This original slide (1) was printed directly onto KODAK VERICOLOR Print Film 4111 (ESTAR Thick Base) to produce the two derivations.

(2) Original exposure white light, 5 seconds. Reexposure yellow filter, 20 seconds.
(2) (5)

(1) When an overcast sky takes some of th

sparkle from the colors in a scene, add your own color by making use of the Sabattier Effect and KODAK VERICOLOII Print Film 4111 (ESTAR Thick Base). (2) Original exposure green filter, 20 seconds. Reexposure yellow filter, 15 seconds. (3) Original exposure 2 filter, 20 seconds. Reexposure yellow filter, 20 seconds. (4) Original exposure white light, 5 second Reexposure 1 filter, 15 seconds. (5) Second generation of (4). Original exposure 5 filter, 20 second Reexposure yellow filter, 20 second (3) Original exposuro ~ IlIlfIr, 20 seconds. ReeXpOIlll(1 yullow fi Iter, 20 secondu,

,r"

227

1111"1 [

SUMMARY
1, First exposure-5 2. Developer-2% seconds to 1 minute minutes

THEATRICAL GEL FILTER CODE

3. Reexposure-15 to 30 seconds Second color in filter holder Film immersed in tray of water 4. Bleach-6V2 minutes Remaining steps can be done in normal room illumination. 5, Wash-3% 6. Fixer-6V2 7. Wash-3% 8. Stabilizer-1 minutes minutes minutes

Theatrical

Gels

V2 minutes

9. Hang up to dry B. Sabattier Effect from Col or Slides Substitute color slides for KODALlTH Films in the procedure outlined above. The greatest difficulty in creating the Sabattier Effect from color slides is in selecting 6 slides of approximately the same density. A very light slide will require a short exposure whereas a dark slide will require longer exposure. Predetermination of the final colors is impossible, so it is necessary to run a lot of tests, pick out the fi Iter combination for an individual slide and then retest the exposure. C. Record Keeping It is absolutely necessary to maintain a record of your trials on filtration and exposure. One method is to take a needle and scratch a code on the edge of the proiossec slide. For example, 25M 15Y would indicate that a particular slide WIIll made by using 25 seconds of nmuonta filtration for the first expoI111I nnd 15 seconds of yellow for the PI 111111 exposure, The f-stop remains
! ,1111'.111111.

Another method is to assign a name to a slide and then maintain a log book indicating the above information. D. Problem Areas Dust-lint-Be sure that both the contact printer glass and originals are clean. Processed slide-TOO DARK-first exposure too long or developer too warm. If slide is TOO LIGHT, the first exposure is too short or the developer is too cold or expired, Blues from KODALlTH Films-Black area on KODALlTH Films will come out blue when yellow filter is used for a second exposure. If blue is TOO DARK, reduce the second exposure; if TOO LIGHT, increase the second exposure. After the film dries, about an hour, you will have a test sheet indicating: (1) color filter certain value
=

Theatrical gels are gelatin filters used over light sources for dramatic effects. They can be obtained in unusual shades or hues not normally available in standard photographic filters. Some of the colors available are shown here. They have been referenced by the numbers to the right; these numbers are used in the captions on pages 222-227 to show the derivations possi ble with the Sabattier Effect using these filters. The numbers do not represent any specific color designations, they are merely a color listing to show you the approximate colors needed to produce the results on pages 222-227. These gels and other filters are generally avai lable from graphic arts supply houses, or from the sources listed on page 229. Take this insert with you when purchasing filters in these colors locally, or if you order by mail, send this insert to show the approximate colors you want. Be sure to ask that it be returned to you for future reference.

0,
Referred to as yellow on pages 222 because of liB effect on tho final rnsult.

yielding

color ef

(2) 4 strips for total exposure tim

Tints may be glued t the squares on pa 229, if desired.

This serves as a guide for the fi rst exposure on your enlarger. Tape the stri ps of filters (the ones used on the contact printer) over the dried PRINT FILM sheet for future reference. Generally, use of one of the color filters listed below as the SECOND exposure on KODALlTH Film originals will cause the black areas of the film to reproduce: Color Filter

FILTER CODE

~ ~

of
Filter yellow magenta deep red deep green deep blue cyan

No.
40Y 40M 29 61 47B 40C

Color Filter Produces blue green cyan magenta yellow red

a name )g book In.

le canals are lK-first per too the first veloper -Black

11 come

(use of cyan is equivalent to white light exposure-so if you want red use white light) Source filters: material for color gels or arts

, ESJ ~ bJ
~ ~ ~
, 2

"

1. Theatrical stores.

gels-most

graphic

>:. ~
~
~5

, ~
4

2. Cellulose acetate filters-Edmund Scientific Co., 642 Edscorp Bldg., Barrington, New Jersey 08007. 3. Color printing 4 x 5 sheets. filters-purchased in

rsed for is TOO posure; second In hour, Jicating: calor of Jre tim

4. Letraset Project-a-Film (England), used in making projection charts for overhead view graphs, transparencies, etc-graphic arts stores. . Glass color filters-photographic supply houses.

229

Posterization
During posterization, the normal tones of a subject are separated into distinct tone ranges with the use of high-contrast films. These films are then printed in register lineation and in combination to create a photograph that shows a sharp deof tones. Calor posterizations often show unreal calor combinations.

R.

s ccr r

PEUIIY

With the posterizatlon technique you can produce photographs that are very graphic with a poster-like quality.

Posterization lets you turn blnck-nnd-whlte photos lntu oolor. The original for this posterizatlon WIIIl tnkon on KODAK PI till X 1'1111 f"Ilm.

231
III

Once you've made the tone separations, you can use different-calor fIlters to produce variations of the same picture. These calor-slide posterizations were done in the camera, and the colors visible in the pIcture are the colors of the filters used over the camera lens.

25 red, 12 yellow, and 47 blue filters.

47 blue, 58 green, and 12 yellow filters.

25 red, 58 green, and 47 blue filters.

25 red and 58 ~IIIII'" flltnr The backqrourul ,"III1't receive any IIXI"'MIIIII MO it remainod 101111~

"'t'

233

This high-contrast photograph is the simplest form of posterization because it contains only two tones-black and white.

Artists and designers usually represent their subjects in pure line or in a full range of graduated tone. However, for generations they have realized that they could produce rich, broad effects by replacing full gradation with a limited number of flat tones. The most effective application of this technique is found in poster drawing. During the days when the exposure latitudes of photosensitive emulsions were still inadequate, various methods of tone separation were practiced. The pictures produced by tone separation had a poster-like quality, and so, the technique of "posterizing" was developed. As films continued to improve in quality, posterizing became less practical and was almost forgotten. However, in the modern world of advertising and salon photography, the posterization technique is enjoying a new popularity. Posterization lies between photography and graphic arts but is, nevertheless, a purely photographic technique. In posterization, the scale of continuous tone in a photograph is split into a series of distinct, uniform tones that separate against one another and do not merge. Posterized reproductions can be characterized by the number of tones which they contain. For example, the

simplest posterized print consists of two tones-black and white. Blackand -white posterization is easily achieved by limiting the process to a single high-contrast negative and is called a single-tone separation. Highcontrast negatives are covered in Chapter 6. More common are three- and fourtone posterizations. A three-tone black-and-white print consists of black (representing the shadows), gray (representing the middle tones), and white (representing the highlights). A four-tone black-and-white print consists of black, white, light gray, and dark gray. Posterized prints consisting of more than four tones are usually not successful, because the result is much like a continuous-Ion image. In color posterizations, 1011 are represented as different colorn. Although posterizing rn ortucou unique and dramatic results flOl1l nppropriate photographs, not nil photographs lend themselves 10 1I11!!pia cess. Pictures with slmplo IHlltOIlW and strong designs usunlly JlI ne/IICl( the best results. Experlrnonl wllh uonu of the many possible varlalknn, III 11111 posterization technique nlld yllll'lI 111111 that the results are llmlltul l1111yby your imagination.

A Ihroe-toneposterization madefrom a highlight negativeand a shadow negative

printed slightly out of register to create a bas-relief (the white outlines).

I~

235

Selecting Materials
Original Black-andWhite Negative High-Contrast Negatives High-Contrast Positives

KODALlTH Ortho illm 4556, Type 3 KODALlTH Ortho Film 2556, Type 3 KODALlTH Ortho Film 4556, Type 3 KODALlTH Ortho Film 2556, Type 3 KODALlTH

Color Negative

KODAI 1'1'11 Ilrll1 111111

5GO

Color Transparency

KODALlTH Pan Film 2568

Ortho Film 4556, Type 3 Ortho Film 2556, Type 3

KODALlTH

POSTERIZING

TECHNIQUE

A four-tone posterization made from three high-contrast negatives. The negatives were registered by taping a piece of white paper in the easel, projecting the image on it, and sketching an outline of the image with a felt pen. This sketch was then used as a guide for registration.

You can make both black-and-white nd color posterizations from an original black-and-white print, a blacknd-white negative, a color negative, r a color transparency. In working Irom an original color negative or lrnnsparency, use a panchromatic film, such as KODALlTH Pan Film 568, for the tone separation. Ortho fllrns, such as KODALlTH Ortho Film, Ivpo 3, are not sensitive to red. olocting the proper materials is most Important.

For the highest quality postorl tions, the high-contrast fllrno unod to produce a posterization shoukl bo Ill( same size as the final prln]. IllUll( films must be printed in I o{/ltolUl, Ill1cJ for critical work you DllOl"!! uno a register printing devlco, nuch as a KODAK Register Printll1'l I rurne and a KODAK Register l'lIl1c1). Ilowever, you can make succonnlul posterizations by using 4 x b Inch film and registering the film vinually. One method of registration (111(111 copying technique are descrlbod on page 253.

237 ":11

TONAL

SEPARATION

Negatives and Positives

ONE SEPARATION
I.xposure causes tone separation. Mnke a series of exposures onto a hlqh-contrast film to break the tone range of the continuous-tone original Into shadow tones, middle tones, and highlights. In working from an original negative, underexposing allows adequate exposure only through the thinnest areas of the negative, thus producing a shadow positive. The shadow areas are blocked up and the middle tones and highlights remain clear. Overexposing allows adequate exposure through all densities of the negative except for specular highlights, thus producing a highlight positive. In other words, both shadow areas and middle tones are blocked up and only the specular highlights remain clear. Obviously, normal exposure produces a middle-tone positive that falls between the shadow positive and the highlight positive. After making the three positives from your negative, contact-print the positive films onto additional high-contrast film to produce three negatives. Or you can make negatives in one step by starting with a slide. Examine the resulting high-contrast negatives to be sure they provide definite tone differences.

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MAKING

A TONE SEPARATION

Use a KODAK Safelight Filter, No. 1 A (light red) and select the appropriate high-contrast film from the table on page 237.
(3) Three tone-separation positives produced from an original black-and-white negative. (1) Overexposure, (2) Normal exposure, and (3) Underexposure on high-contrast film produce distinct separations of tone,

1. Make a test strip with a wide range of exposures on high-cOnllEllll 111111 2, From the test strip, select three different exposures. 3, Exposure No. 1 should be very light and record only the higlillqlll areas. Make a film positive using this exposure. 4. Exposure No. 2 should be normal, showing detail througll tones, Make a film positive using this exposure, JlIO1lllddl"

5. Exposure No. 3 should be very dark and have detail only 1illlilll1ll1u/ow areas. Make a film positive using this exposure, Exposures 1 (highlight), 2 (midtone), and 3 (shadow) aro IOIII! separations. If your original image was a negative, the 101111 '1111 !lIrnllons will be positive images, To produco tono-separation nO\lllllvllll, contactprint the three films onto additional hloh contrast film.

'I~I/I 239

RIZING ACK-AND-WHITE

PRINTS
Think of the smooth, continuous range of gray tones or color values in a normal photograph as a ramp that posterization converts to a staircase. Instead of a continuous progression with an infinite number of tones, there are a limited number of distinct steps. Each step represents one level of density on the original photograph. Print (1) is a continuous-tone black-and-white photograph, and (2) is the negative. The circle on the right is a density wedge or gray scale, and it shows what happens to different tones during the posterization process. The portrait shows these effects on a particular subject. Prints (3) through (7) show how a highcontrast film breaks up the tonal range into distinct steps. Looking at the density circle as a clock face, there are sharp breaks between the tones in the areas of 11:00, 9:00,7:00,5:00, and 3:00. These five divisions break up the gray scale into six distinct steps. Instead of the wide variety of tones in (1), there are only six. Since each step is a different sheet of film, you can manipulate the image in a wide variety of ways by using different combinations of the tone-separation films. The simplest posterization contains two tones, usually black and white, so (3) through (7) are all two-tone posterizations. Prints (8) through (12) are the negative images of (3) through (7) respectively. Print (13) is a three-tone posterization. All the light tones have become white, the whole range of middle tones is now one uniform gray tone, and all the darker areas are solid black. So the original continuous tonal scale has been divided into three sharply defined steps-three levels of density. You can use any number of negatives to produce a posterization, but in black-andwhite the more shades of gray you print in a posterization the more the result begins to look like a continuous-tone photograph. In col or, however, the situation is different because each tone separation can produce a different color in posterization. Refer to pages 258 and 259.
(6)

WIIIIII making a black-and-white post1III/Od print, print one high-contrast 1IIll/ollve at a time. If you're not using 1 pin register system, register the negulvos as described on page 253. StartIng with the shadow negative (darkest overall). adjust the exposure time to obtain a light gray tone, and make an exposure. Remove the shadow negative from the paper, replace it with the mid-tone negative, and print again, usi ng the same exposure as that used for the shadow negative. Since exposure is cumulative, each area becomes progressively darker with successive exposures. If the print were processed at this point. the shadow areas would be a dark gray; those areas exposed only with the mid-tone negative, during the second exposure, would be a light gray. Now, make a third identical exposure using the highlight negative (thinnest of all), and finally, process the print. The shadow areas, which received all three exposures, will be dark gray; the highlight areas, which received only one exposure, will be light gray; and the specular highlights, which received no exposure, will remain paper-white. For posterizing in black-and-white printing, use only high-contrast negatives. When working from an original negative, first prepare a black-andwhite intermediate film positive. This intermediate positive should be fullscale with contrast somewhat higher Ihan average. In working from an orig111111 print or transparency, the interurndlate film positive is not necessary, IIII,() Ihe positive original yields negaIIVII 11)110 separations.

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241

MAKING

A BLACK-AND-WHITE

POSTERIZATION POSTERIZING
Use the appropriate

BLACK-AND-WHITE
safelight for the paper.

PRINTS

1. Make tone-separation negatives as described on page 239. 2. Register the negatives. If you do not have a pin register system, you can tape the edge of the negatives to the baseboard so that you CUll flip them over the paper one at a time. This /s the some reg/sterlng method described on page 253.
Original Negative

3. Starting with the shadow negative (darkest ovornll), ne//llllt tho exposure time to obtain a light gray tone, and mako nn OXPOntllO, 4. Remove the shadow negative and replace It will, 1110 mic/ 10110 negative. Do not move the paper. Print again using rho same OXPOOLIl 5. Remove the mid-tone negative and replace it with the hlghllgl,t negative. Do not move the paper. Print again using the same exposure. 6. Process the print normally.

Intermediate

Positive

Highlight Negative Underexposure

Midtone Negative Normal Exposure (On a high-contrast

Shadow Negative Overexposure ~ Print

Processed Print

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Procedure for producing a black-and-white posterized print from an original black-and-white negative.

A posterization printed in the darkroom through 25 red, 58 green, linO ~/lJluo filters.

1.1
243

P08TERIZING COlOR PRINTS Ill' /lolltorlzing in color printing, you

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PRINTING A COlOR POSTERIZATION

Printing Posterizations on KO OAK EKTACOLOR 74 RC or 78 Paper wHh KOOAK WRATTEN Filters. To print posterizations in color, you'll need a standard enlarger setup including a No. 2B filter in the enlarger, and the following KODAK WRATTEN Gelatin Filters:
KODAK WRATTEN Gelatin Filter No. Calor Produced in Print

both high-contrast

negatives and

from the first exposure series. Simply change exposure to make the color lighter or darker. Since this is a negative color system, the desired color is produced by printing through the complementary filter. For example, printing through a KODAKWRATTEN Filter, No. 25 (red), exposes the red-sensitive layer of the color paper. As a result, cyan dye is formed during processing, and the final print is cyan. Similarly, printing through a KODAK WRATTEN Filter, No. 58 (green), exposes the green-

1111111 contrast positives. You can use 1)1 JI\LlTH Ortho Film 4556, Type 3, to 111111<0 both the negatives and positives.
I mm an original negative, the tone operations are positives. Reverse thorn to obtain negatives by contactprinting them onto additional film. From an original slide, the tone separations are negatives. Reverse them to obtain positives by contact-pri nting onto additional film. Register the positives and the negatives. The positives are used for masking during the color-printing opration. For example, if the first exposure is made with the shadow negative, then the second exposure is made with both the shadow positive and the midtone negative in register. The shadow positive masks the areas of the color paper that were exposed through the shadow negative, so that these areas are not affected during the second exposure with the midtone negative. When you make the third exposure with the highlight negative, use the midtone positive mask to cover the areas of the color paper that were exposed during the first exposure with the shadow negative and during the second exposure with the midtone negative. The added dimension of color complicates posterizing. Deciding which color to reproduce in each tonal area Is simply a matter of personal taste. You can save time and materials by Ilylng to visualize the image in adVIIIIr.O and planning the end result.

Calor 01 Filter

sensitive layer of the paper, producing a magenta image. Printing through a blue filter produces. a yellow image. Cyan produces red, magenta produces green, and yellow produces blue. For a more complete discussion of color negative-positive theory, see the KODAK Data Book No. E-66, Printing Calor Negatives, available from photo dealers. Use the filters listed in the table on page 244, and follow the procedure described on page 249 to produce a posterized calor print.

25 or 29 58 or 61 47 or 47B 44 32 12

Deep Red Deep Green Deep Blue Cyan Magenta Deep Yellow

Cyan Magenta Yellow Red Green Blue

Since they are sharp-cutting, these six filters allow a great control over the color in the reproduction. They are preferable to KODAK Color Compensating Filters (CC) or KODAK Color Printing Filters (CP). For best results, balance the KODAK EKTACOLOR Paper emulsion to produce a neutral color, using standard CC or CP Filters in the enlarger with an unexposed, developed KODACOLOR or VERICOLOR Nega tive placed in the negative carrier. Once the emulsion is "balanced-in," make a test to determine the exposuro time for printing through one of the six filters. For example, select the qreon filter and make a series of test expo sures, using the midtone high-con trast negative. Evaluate the calor ren dition of the print by' using each 01 the six filters to make separate prlnl at the same exposure time selectocl

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245

A darkroom posterization. DeCiding wnru Calor to reproillllll III lilt oh tonal area is simply a matter of noraona: taste, and you 01111 "ltVII 111111) and materials by trying to vlsuntlzo tho Image in advlllIl 11

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Use a KODAK Safelight Filter, No. 10 or No. 13 (dark amber), with EKTACOLOR 74 RC and 78 Paper . 1. Make tone separation negatives and positives as described on page 239, and register them (refer to page 253 for a registering system). 2. Place a sheet of unexposed, developed KODACOLOR or VERICOLOR Film in the filter drawer of the enlarger. This is not necessary if the filters you're printing from are incorporated in negatives. Refer to page 250. Balance the paperto produce a neutral color as described on page 244. 3. Make separate test strips from the highlight positive and each of the three negatives (highlight, midtone, and shadow negatives), using the filter you've selected to use with each one. After processing the test strips, select and record the best exposure time for each negative and for the highlight positive. 4. Print the shadow negative using the exposure determined above. 5. Remove the shadow negative and replace it with the shadow positive and the midtone negative in register. Do not move the paper. Print this combination, using the exposure determined above for the midtone negative.

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with the midtone positive and the highlight negative in register. Do not move the paper. Print this combination, using the exposure determined above for the highlight negative. 7. Remove the midtone positive and highlight negative and replace them with the highlight positive. Do not move the paper. Print this positive, using the exposure determined above forthe highlight positive. 8. Process the paper in the normal way.

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These separation negatives, which were originally made for a posterization, were deliberately printed out of register to produce a creative variation of the posterization technique.

Printing Posterizations with Homemade Color Negatives

One of the most predictable methods for producing a posterized print is with negatives of colors and textures. You can prepare these color negatives by photographing various colored art papers on KODACOLOR or VERICOLOR Film. You'll find ready-made texture patterns in woven fabrics, stucco walls, wood grain, reticulated film, and pressed glass. When copying these textures onto film, be sure to keep the lIohting uniform and the exposure I.onstant. I o print a posterization with the texIIIIII nogative, first make a straight Iif II II ()f the texture negative and bal1111 111110 color using CC or CP filters

in your enlarger. When you have th correct color balance for the texturo negative, you can print the posteriza tion following the procedure described on page 249. Each color texture negative you uso in the posterization process will havo to be color balanced as describod above. If you plan to use many coloi texture negatives, you may want 10 make a gang proof or contact print 01 a group of negatives and deterrnlnt the color balance for the whole grollt' at one time. You can produce light and dOli shades of one color with a single t ture negative by changing the expo sure.

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A darkroom posterization made from a black-and-white original Oil I(OIJAK PANATOMIC-X Film. Highlight, shadow, and mid-tone negatives WOlflIIII\(fo from an intermediate positive. Then highlight and shadow positives w!IIollllt<fo from their respective negatives. The films wero roglstered and prtntnd ln oOlllblnation by exposing through a 25 red filter to produce the cyan imnOIl, III/ollgh a 44 cyan filter to produce tho roddlsh-black image, and 111/011'111 1\ 47 blue filter to produce tho yellow imago.

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251

POSTERIZING

COlOR

SLIDES
oloctronic flash unit at least one foot below the glass and aim directly at the gI8SS. Mount the camera on a firm SUPDort, such as a tripod, nncl aim it down fll the film on tile ~JlfHlB,If you plan to do Cl101of copylno work usln your oloctronlo 1111011 1I111l nu tho lIoht source, you mny wnn: to Illdlcl 11 oopying box 111<0 1110 ono 1IIIIIIInlloel bolow.

It's possible to create posterized slides if you have a 35 mm camera and an electronic flash unit. Make 4 x 5inch high-contrast negatives and positives, just as you would to posterize a color print. Register the films on a sheet of opal glass or plastic so that they will flip in and out of the camera range as illustrated below. Place the

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Creativity with photography often extends beyond the darkroom. Here are two color combinations of the same posterization. One was mounted on a board in the traditional manner. The other was mounted on a thick piece of wood, and the zebra was cut out with a jigsaw.

Select the combination of negatives and positives you'll need to produce a color posterization. Visually register the films over the picture-taking area on the opal glass. Tape the films along one edge so that you can flip them in and out of the picture-taking nrea. Make an exposure through a colored Illter; then flip the film out of the pictureloking area; make a second exposure Ihrough a different colored filter; then flip Ihe films out of the picture-taking area. ConIlnue exposing the films in this manner until 11 the stages of the posterization have been xposed.

If you plan to copy films or cronto 1IIIIIIy posterizations, you might want 10 11111111 11 copy box like this one. It has It al1ll1ll III 11/1111 glass or plastic on the top. TIlIl wllllll , 11111 board set at an angle retlocts 11111 11/1111 1111111 the flash up through the opnl JlIIINII 11111 IIIIIlt bulb provides the light nOClIl.NIII y 1111 11111111' Ing the camera and reglRllllillU 11111111, hilt It should be turned off (lilll,," 11111 uxponuro. You can fire the elecuouf II/1qll 1IIIIIIIJlllly or attach it to the camorn wlllt 11I"nu flCHd. Use the sharp-cuttlnu 11111111 IIIO()lIl1nended on page 244 for 001111 i'IIIIIIIIU Ilumomber that the filter will 111111""111 " "" own oolor in the slide, so with III1~ 111111111111 III poutorlzlng It Is really easier III dl.IIIIIIIIIIII 11111 lIolnl thnn with color printlnn

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Review the procedure described on page 244 for printing with high-contrast negatives and positives. You use the same method of combining the films, but instead of printing onto paper, you'll copy them onto a single frame of film. Use a different colored filter over the camera lens during each exposure. You'll find that an exposure of f/22 or f/16 will produce good results with KODAK EKTACHROME 64 Film, but of course this depends on the output of your flash unit and the distance from the flash to the opal glass. Use the same exposure for each film and filter combination. If your camera will not make multiple exposures, work in a darkened room. (You can have a very dim light in the far corner from the camera.) Set your camera on ''1'' or hold the shutter open on "B," and manually flash the electronic flash for each exposure. If you leave the filter over the

lens or put the lens cap on while you're arranging the films between flashes, you should be able to produce the registered multiple exposures needed with this method. You can produce 35 mm negatives with this system by using a color negative film, such as KODACOLOR II Film. Print these color negatives as you would print any color negative, and you eliminate registering at the easel. However, prints made in thia manner usually are not as sharp a pri nts made di rectly from high-con trast films enlarged the same size a. the paper. The photo-posterization technique described here are basic. By com bining them with other photoqraphk controls such as the tone-line pro cess, bas-relief, and Sabattier Effecl, or by using more than one neqativu, you can achieve many different anti fascinating effects.

"AIt"MIA

Jt AN

An in-camera posterization on KODAK EKTACHROMr "1/11' exposed through 25 red, 58 green, and 47 blue flltol

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An in-camera posterization on KODAK EKTACHRO'MEFilm exposed through 47 blue and 12 yellow fillers, The posterization eliminated a very busy background which was distracting in the original straight print.

An in-camera posterization on KODAK EKTACHROME Film exposod 11111111\111 47 blue, 58 green, and 12 yellow filters. Tho original picture was taken Oil hi IIIA!\ TRI-X Film with existing light, and tho aoparatlon positives wero 111111111 110111 11 very small portion of the original negallvo to produce an accentuntorl (1111111 1'11111111I.

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257

(1)

(2)

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Here are some of the color combinations that are possible by using the same set of four separation films and exposing with different color filters.

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(1) through (4) show four tone-separation films photographed through different color filters. Slides (5) through (8) show the results when the positives and their corresponding mask negatives are photographed in combination to produce a color posterization. (5) Blue shadow positive and red highlight positive with black (unexposed) midtones. (6) Blue shadow positive plus green mldtone positive. Note the cyan areas formed where the two colors overlap. (7) Blue shadow positive, green midtone positive, and red highlight positive for a 3-exposure 5-color posterization. Slide (8) is the same combination as (or (7), but with the blue highlight positive added, which combined with the red exposure from the highlight positive to produce the magenta col or.
11.1 \

259

With posterization, you can turn a black-and-white photo into many different color images. These posterizations were all made in the camera using the technique described on page 253.

261
'1Ill

POSTERIZING

COLOR SLIDES
on

Work in a dimly lighted room. 1. Make tone-separation negatives and positives as described page 239 and register them.

2. Use a slide copier orthe copying method described on page 253. Determine the exposure for your equipment by making a series of test posterizations at various lens openings. Keep good records and have the film processed, then select the best exposure. If you use the filters listed on page 244, you will not have to vary the exposure to compensate for different filter factors, so the exposure will be the same for the whole posterization. Once you have determined which lens opening produces a well-exposed slide, you can make all your slide posterizations at that exposure. 3. Copy the shadow positive with the appropriate lens. filter over the camera

4. Remove the shadow positive and replace it with the shadow negative and the mid-tone positive in register. Do not move the camera. Copy this combination onto the same frame of film with a different color filter over the camera lens. 5. Remove the mid-tone positive and the shadow negative and replace them with the mid-tone negative and the highlight positive in register. Do not move the camera. Copy this combination onto the same frame of film through a different color filter. 6. Have the film processed or process it yourself in the normal way.

Posterization is an exciting technique that Challenges a photographer's creativity, but some photographers are always trying to extend the creative possibilities. Icture (1) is an in-camera posterization. Icture (2) is a double exposure of :woposterized slides to create a new olor combination.

263

GumBichromate Printing
With gum-bichromate printing, you make your own photographic paper by mixing a light-sensitive emulsion and coating it on paper. The paper is exposed by contact printing with continuous-tone or high-contrast negatives, and developed in water.

Gum-bichromate print made with a continuous-tone negative and one emulsion layer. Cyan pigment was added to the emulsion to produce the col or.

Gum-bichromate print made with four films and four emulsion layers.

The process ot gum-bichromate printing has been around for many years and was quite popular around the turn of the century. The process is not as involved as it may seem at first glance. With a little time and experimentation, you can master the technique and adapt it to your own needs. The variety of materials that you can use introduces variables that must be worked out according to your own individual method. Basically, the process consists of contact-printing negatives on a good grade of paper coated with a lightsensitive bichromate solution. This Is composed of a water-soluble pig-

ment and potassium or ammonium bichromate suspended in a vehicle of gum arabic. The gum arabic and potassium or ammonium bichromate are availablo from any chemical-supply company. The ammonium bichromate, belno more sensitive to light, requires about half the exposure of the potasstum ill chromate. The pigment can IJO nnything from tube watercolorn In tempera paint. The paper shoukl Ill) strong enough to withstand f1 (IClOd deal of soaking. You can CI1()()(Hl from any number of good qunllly watercolor papers in a variety ClI(JIlldes and surface textures.

265

--

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ARING THE MICALS AND PAPER

~;01110 preparation is necessary be1()lO you actually make a print. First mlx separate stock solutions of gum uablc and bichromate in the followIng amounts: Mix 1 ounce of gum arable (dry weight) in 2 ounces of warm water. For the bichromate, mix 112 ounce (dry weight) in 5 ounces of warm water. This will give you enough of each stock mixture for several prints. It is not a good practice to mix too much gum arabic at one time, because it is an organic compound and should be kept refrigerated after it has been mixed. Since gum arabic dissolves very slowly, you may want to start preparing it a day or two in advance. Wrap the dry gum in cheesecloth and suspend it in the water. Occasional stirring will speed the process. The solution will keep fairly well if a trace of carbolic acid or thymol is added as a preservative. The paper also requires some preparation before it is ready for coating. First soak it in hot water (approximately 150 F) for 15 minutes and dry. This preshrinking will avoid distortion after fi nal development. These preliminary steps must be completed before you can start any printing. When you are ready to start coating, first tack the paper down at the corners to a stiff support. Then to avoid having the pigment soak into the paper, add sizing by spraying the paper with any household spray starch. Use 1110sizing sparingly. Too much will ouuse difficulty in later coating the pa11"1 with the light-sensitive emulsion.
0

solutions of gum arabic and bichromate. Start with % ounce of each stock solution. Then mix 3 parts of this emulsion to 1 part of the pigment. A little variation is acceptable and recommended until you determine the best mixture for your working conditions. After the emulsion is mixed, you must coat it on the dry, sized paper. A good method of coating is to use a good-quality, flat brush about 2112 inches wide. In laying down the emulsion, use crisscross strokes to get as smooth a surface as possible. This can be carried out in room light because the emulsion is not sensitive to light until it is almost dry. When you have completed the coating, put the paper in a warm, dimly lit place to dry.

PRINTING ON GUM-BICHROMATE

PAPER
STANLEY W. COWAN

MIXING

THE EMULSION

11111 nuxt step is to mix an emulsion 111111111 lip of equal parts of the stock

When the sensitized paper is dry, you are ready to make contact prints from negatives. You can use both normal and high-contrast negatives. Use a printing frame or heavy piece of glass to hold the negative and pa per together during the exposure. Re member, this is a contact-printing pro cess, so your print will only be an large as your negative. One 500-watt photolamp at a dis tance of about 2 feet makes a good light source for exposure, but any thi ng from sunlight to carbon-arc light will work. A good starting point fortho exposure time when using a photo lamp is 5 minutes for an ammonium bichromate emulsion and 10 minut for the slower-acting potassium III chromate emulsion. Try a 3-minulll exposure time for direct sunlight. TIIII density of the final print depends Oil the density of the emulsion and inlnn sity of the exposing source.

Gum-bichromate print made with a yellow emulsion layer and a red emulsion layer and printed from high-contrast negatives. The print was left in a tray overnight and the dye in the emulsion floated toward the center, causing a concentration of color in the middle of the picture.

DEVELOPING

THE PRINT

Develop the exposed print by first soaking it face up in a tray of water (70-80F) for a couple of minutes. Then turn the print face down and slide it gently into the water to avoid trapping air bells on the coated surface. Optimum developing time is 30-60 minutes, although complete development may take anywhere from 15 minutes to several hours, depending upon exposure and the amount of density you desire. It's up to you to decide when to stop development. When it is complete, the last step is to hang the print to dry.

USING MULTIPLE COLORS AND NEGATIVES

It's possible to work with several colors and many negatives on the same print by repeating the emulsion-coating, printing, and developing steps for each successive color. For multiplocolor printing, each layer must h coated, dried, exposed, developed. and dried again before procoodln with the next layer. Some of the prints in IIl1l1 chapter have been taken a stop rllllllOr than the simple gum print. Colors were added by pen and 1111< 1I1Ie! transparent watercolors alto: 1110 prints dried. This is just one of tho many things you can add to 1/10hnnlc process for more express/vu pilnr,

'nn

269

STANLItY

W.

COWAN

Gum-bichromate print made with four layers of emulsion ranging in color from light blue to black, and printed from 4 high-contrast negatives.

STANLEY

w.

COWAN

Gum-bichromate print on green art paper made from a high-contrast negative. A water-based ceramic stain was used to dye the emulsion gold.

'1'1(1

271

Photo Silk-Screen Printing

In silk-screen printing, an image on high-contrast film is transferred to a special silk-screen film which adheres to the silk screen and serves as a mask during printing. The silk-screen image is printed onto paper by forcing inks through the screen with a rubber squeegee while the screen is in contact with a sheet of art paper. Silk-screen prints look as if they've been painted with poster
Three separation negatives were made on high-contrast film from a slide. To produce this gum-bichromate print, one negative was printed on a yellow emulsion layer, the second negative printed on a magenta emulsion layer, and the third negative printed on a cyan emulsion layer.

paints. sary to make a separate silk-screen mask for each color or image you want to print. Photo silk-screen printing provides an excellent creative outlet for the photographer who has tried all the other photographic processes available. It is a time-consuming process, and to produce good multiple-color silk screens you'll need to plan each image and color carefully in advance. You'll need to experiment and perhaps deviate from the recommendations given here to achieve the best results with your equipment, inks, and paper. It's a challenge to a photographer who enjoys making new pictures out of existing images, because several photographs, or parts of photographs, can be combined in one silk-screen print. This motivates some photographers to seek special subjects to photograph with the idea that Ihey will end up as silk-screen prlnts. Photo silk-screen printing Is rowllfcllng too, and it's becoming tncronnlnoty popular as a means of oxpronsion. Some exhibitions accept photo silk screens as both a III nphlc-art form and a photographic mnlhod. The process is also adnpllll>lo for making greeting cards, woclcllllO nnd birth announcements, Oriel pili uonalized note paper. 273

THE GUM-BICHROMATE

PROCESS

Steps 1-7 can be done in white light. 1. Mix 1 ounce of gum arabic with 2 ounces of water. 2. Mix Y2 ounce bichromate with 5 ounces of water. 3. Soak the paper in hot water (approximately 150F) for about 15 minutes and then allow it to dry.

4. Size the paper by spraying it with any household spray starch.

Use the starch sparingly. 5. Mix equal parts (start with 1/4 ounce of each solution) of the previously mixed solutions of gum arabic and bichromate. This mixture is the 6. Mix 1 part pigment 7. Coat the emulsion making crisscross emulsion. with 3 parts emulsion to give the emulsion color. on the paper using a flat 2Y2-inch brush and strokes to get as smooth a surface as possible. (such contact printing).

Steps 8, 9, and 10 should be done under safelight i'llumination as that used for black-and-white

8. Hang the print to dry. 9. Contact-print your negative onto the paper using a printing frame (emulsion-to-emulsion) . 10. Expose the paper to any bright light source. Try 3 minutes with direct sunlight or 5 minutes with a 500-watt photolamp for the trial exposure. The depth of the final print depends upon the density of the emulsion and the intensity of the exposure. During the following steps, room lights can be turned on. 11. Develop the exposed print by placing it face down in a tray of water at 70-80F. Development takes anywhere from 15 minutes to several hours, depending on the depth of exposure and the amount of density you desire. When the print looks good to you, stop I:'
)"01

Photo silk-screen printing is a combination of photography and graphic arts. The original image is a negative or slide, and in the darkroom this image is enlarged onto a high-contrast film, such as KODALlTH Ortho Film, Type 3. The image is then transferred from the high-contrast film onto the silk screen. There are a number of methods used for making the mask on the silk screen. We're going to cover one method, the use of Ulano" Hi-Fi Green<!l> Presensitized Screen Process Film.' (For information on other methods of si Ik screening, refer to the list of reference books on page 287.) Once the photographic image has been transferred to the silk screen, the photographic process ends and the graphic-arts process begins. Print the silk-screen image onto the paper by forcing inks through the screen with a hard rubber squeegee while the screen is in contact with the paper. You can apply as many silk-screen images as you want to create a multicolored image, but you must allow each color to dry thoroughly before applying the next image. It's neces-

development. Ilang the print to dry.

'This film is a product of the Ulano Products Company, lnc., 210 E. 861hStreet, New York, New York 10028. Ulano and Hi-Fi Green arc registered trademarks.

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RICHARD

V,

STOECKR

A photo silk-screen print made with one screen and one color ink.

RICHARD

V.

STOECKER

A photo silk-screen print.

7,1

275

CLEANING

THE SCREEN

Use a silk or nylon screen with a 1417 mesh. You can purchase readymade screens which are on wooden frames in art supply stores or buy the fabric and stretch your own screens. Good results in silk screening depend on a clean screen, so wash the screen with Serascreen SPC Enzyme or Foto-Film Remover. Rinse well and apply DeGreaser with a soft scrub brush. Neutralize the screen by rinsing with an acetic acid solution (one capful of 28-percent acetic acid in a gallon of water). Allow the screen to dry. Afteryou have cleaned the screen, NEVER TOUCH THE FABRIC WITH YOUR HANDS. The slightest trace of oil will keep the Hi-Fi Green film from adhering properly to the screen.

dust spots with a black Eberhard Faber llilnrite Marker 690 or KODAK

Opaque. High-Contrast Images

Fer a high-contrast image which will produce concentrated areas of color In the final silk-screened print, print the negative onto I<ODALlTII Ortho Film, Type 3. Refor to page 152 for the details on how to use this film.

Continuous-Tone

Images

PREPARING THE PHOTOGRAPHIC IMAGE

You can start with any well-exposed negative or slide as the original image. If you start with a negative image, the final silk screen will be a positive image; a positive original image produces a negative silk-screen image. If you start with a positive image (a slide), you may wish to go through one extra step by contactprinti ng the high-contrast film negative to another sheet of high-contrast film to convert the image to a positive. The size of the image in your silkscreened print will be the same as the image on the high-contrast film, so enlarge the image to exactly the size you need. The degree of enlargement is very important when you plan to apply more than one image in a silkscreen print-particularly if the images are to be registered. After you've transferred the imago to the high-contrast film, black out any

To produce an image similar to a continuous-tone image, one with varying degrees of color density in a photo silk-screen print, enlarge your original image onto KODALlTH AUTOSCREEN Ortho Film 2563. This film has a dot pattern built into it and will allow you to reproduce shades of one color. For information on how to use this film, refer to page 68.

TRANSFERRING THE IMAGE TO HI-FI GREEN FILM

Hi-Fi Green film is easy to use because it can be handled in normal room light. However, avoid exposing it to sunlight or bright fluorescent lights. After exposure to an ultraviolet light source-such as a sun lamp, photolamp, or arc lamp-and development, the unexposed areas of the image can be washed away in warm running water (not over 115F). Then the sticky side of the film will adhere to the silk screen. Hi-Fi film has a plastic backing which you can easily peel away after the film Is dry. After the backing is removed, the Hi-Fi film acts as a mask on tile silk screen; ink will flow through the screen only in the unexposed areas where the Hi-Fi film has been washod away. 277

RICIIARD

V.

STOECKCII

A photo silk-screen print made with two screens. One screen printed the rose-colored background and the other screen printed the purple areas.

EXPOSURE
I nmp-to-copy distance New No. 2 Photolamp

FOR Ht-Ft

GREEN

FILM
15-amp Arc Lamp 35-amp Arc Lamp

Photolamp No. 2 (used 3 hrs)

250-watt Sunlamp

10 inches 20 inches 40 inches

2 min 8 min 32 min

3 min 12 min 48 min

2 min 5 min 20 min

5 min 20 min

1112 min 6 min Development and Washout

Exposure
Place a sheet of Hi-Fi film and your film positive from the previous step in a printing frame as shown at the left. The plastic backing on the Hi-Fi film should be toward the film positive and the light source. Always make the exposure through the high-contrast film positive and through the plastic backing sheet to the emulsion of the Hi-Fi film. The emulsion side feels tacky when touched with a damp finger. Expose the film using the table above as a guide for your first exposure. You can make a test strip of various exposures, develop the film, and then select the best exposure. The longer the exposure, the thicker the resulting mask will be. Too long an exposure will close up the fine lines; too short an exposure produces a mask that is thin and lacks strength. A faint image will be visible after exposure.
EXPOSING LAMP

BOB

CLEMENS

Place the Hi-Fi film under your film positive with the plastic backing on the Hi-Fi film toward the film positive and the light source.

i
BOB CL.EMENS

Develop the exposed Hi-Fi film in Inko No. 201 Liquid or Ulano A and B powdered developer. Follow the mixing and developing instructions given on the developer package. Protect the developer from strong light by covering the tray when it is not in use. Never bottle used developer because it forms a gas; discard the developer at the end of each working session. Place the plastic side of the Hi-Fi film toward the bottom of the tray, and use just enough developer to cover the film. DO NOT TOUCH THE STICKY SIDE OF THE FILM AFTER IT'S IN THE DEVELOPER BECAUSE THE EMULSION WILL COME OFF. Immediately after development, transfer the Hi-Fi film to a clean tray or the bathtub. Using a mild spray of warm water (not over 115F), wash the film until the design is clear and the water running off the film is clear. If you're using a tray, tip the tray so that the stream of water is washing over the film and running out over the bottom edge of the tray. Finish the wash by rinsing the film with cold water for 30 seconds.

t-

Develop the exposed Hi-FI film with the plastic side of the film toward the bottom of the tray, and use just enough developer to cover the film.

Immediately after development, place the Hi-Fi film in a clean darkroom tray or the bathtub and rinse it with a mild spray of warm water. Keep rinsing the film with water un.lil the design is clearly visible and the water running off the film is clear.

HIGH-CONTRAST FILM POSITIVE

A "1lIlllImp Is one of several lights that ViiI! I 11/1 IISOto expose the Hi-Fi film. EMULSION SIDE HI-FI FILM 'l/fl
BOB CLEMENS

279

Adhering the Film to the Screen

To provide good contact all ovor tho surface of the screen, use several photographic-paper boxes to build up a platform that is just slightly smaller in surface area than the screen which you'll lower over it. Refer to Ih drawing and photography at the lofl. Place the wet Hi-Fi film on the platform with the emulsion side up. (Note: It's important to keep the film wet if there's any delay between the washout step and adhering the film to the screen.) Hold the screen in position over the film and platform and gently lower the screen down over the film with one slow and even movement. Any side-ta-side movement after the screen is in contact with the film will blur the image. Place paper towels over the screen and pat them down to absorb the excess water, then pat the surface of the screen with a wad of paper towels to force the adhesion of the Hi-Fi film to the screen. DON'T TOUCH THE SCREEN WITH YOUR HANDS! Let the screen dry thoroughly and then gently peel off the plastic backing. Clean the screen with turpentine to remove the adhesive.

FRAME

HOLDING

SILK

SCREEN

SILK

Wr~%;;;;%;;;;;;;;;;%;;;;;;;X;~~
TABLE Place the Hi-Fi film, emulsion side up, on a platform of boxes the same size as the opening in the screen frame, and gently lower the screen down over the film with one slow and even movement.

:~LR~' N

1 ake a sheet of paper that you inlend to print on and place it in posilion under the screen. Fold strips of heavy paper or light cardboard into a shape and tape the Z's 10 the table with masking tape. Place two Z's on one edge of the paper and two Z's on an adjacent odge. Tho Z's will hold the paper in place while you're printing and help you register the image in successive prints. Refer to the drawing on page 282. Tape strips of tissue paper around the edges of the screen in any area where the Hi-Fi film does not completely cover the screen, or use a blackout that will not be affected by the ink. Tape 1112 -inch squares of cardboard to each corner of the screen frame. These cardboard squares lift the screen off the paper and will help prevent speckles of ink from getting on the paper.

PRINTING
To help register the image in printing, attach the silk-screen frame to a table top or large sheet of wood with loosepin hinges. (These hinges will come apart when the center pin is pulled out.)

WARNING: PRINTING WITH SILK-SCREEN INKS MUST BE DONE IN A WELL-VENTILATED ROOM. Inhaling the fumes from silk-screen inks may cause you to become light-headed and giddy; then they produce a severe headache. If you plan to do a lot of silk-screening, you might want to invest in a gas mask.

Use paper towels to absorb the excess water, and pat the surface of the screen with a wad of paper towels to force the "dl1esion of the Hi-Fi film to the screen. IION'T TOUCH THE SCREEN WITH HANDS!

Let the screen dry thoroughly, and then gently peel off the plastic backing.

voun

There are many silk-screen inks avai lab le from art suppliers, in a great variety of colors. Some inks are transparent and others are opaque, and you can mix colors of the same type ink to produce your own shades.

)/10 281

With the paper in place under the silk screen, pour the ink along the edge at one end of the screen and squeegee the ink over the surface of the screen once. Be careful as you lift the squeegee so that the ink does not drip onto the screen. Lift the screen and remove the paper to dry. [f you're using a quick-drying ink, it's best to have a helper to remove the prints for you, then you can begin printing the next sheet. Work fast so that you can get as many sheets as possible printed before the ink begins to dry in the screen and block it up. [f the screen begins to block up or when you're finished, scrape off the excess ink and save it in a tightly covered jar. Clean the screen carefully with paper towels or rags soaked with turpentine. To make sure the screen is completely clean, hold it in a vertical position and rub both sides of it at the same time with paper towels.

APPLYING

SEVERAL COLORS

You can make Z's for holding and registering your paper by cutting 1 by 10-inch strips from heavy paper. Fold the paper into thirds in a zigzag fashion. This folded paper is the Z. Place your printing paper in place under the silk-screen frame and place two Z's on one edge of the paper and two more Z's on an adjacent edge. Tape the Z's to the table. You should be able to slide your printing paper into the Z's and have it precisely in place for prln.inq. When you're ready to print the second color, remove the Z's, register the sheet with the first color printed (make sure the color is dry) under the silk screen in the position where you want the second color to print; then place the Z's on the edges of the paper as described above. You must register and reorient the Z's for each additional color and image you want to add to a silk-screen print.

With the paper in place under the silk screen, pour the ink along the edge at one end of the screen and squeegee the ink over the surface of the screen once. Immediately lift the screen and remove the paper to dry.

When you're finished, or if the screen begins to block up, scrape off the excess ink and clean the screen carefully with paper towels or rags soaked with turpentine.

To produce mu[tip[e-co[orsi[kscreens, you must allow each color to dry thorouqhly before applying the next color. For each color or image, you'll need to make a separate screen, and this is where the hinge and Z system of registering comes in handy. Fit each screen with the same size hinges in exactly the same position on the frame so that each screen will fit onto the baseboard or tab [e. After printing the first color, remove the Z's. Select a dry print made in the first step and place it on the table. Attach the second screen to the table, then lower the screen and move the paper under it until the second image is in its proper position over the first image. Tape the Z's in place on two edges of the paper. As you slip each sheet of paper into the Z's, it will autornaticalty be registered so that the second image will go just where you'd planned. Register any additional colors and images in this same way. Print the second image, and any additional images, in the same way as the first. Always print the background image first and work from the background toward the foreground with each image.

BOB CLEMEH.

The printing paper is held in position with four Z's made from folded heavy paper. The silk screen is ready for printing, with tissue around the edges and squares of cardboard taped to each corner of the frame
BOB ClEMENS

283

RICHARD

V,

STOECKER

BOB ClEMENS

To produce multiple-colored silk-screen prints, you must print each color separately using a different silk screen for each color. Each col or layer must dry thoroughly on the paper before another color can be printed over it.

B~

285

I" THE PHOTO SILK-SCREEN PROCESS

All stops, except the handlinq ol Ilu I I ilL111 contrast film, can be done in room light. 1. Clean the silk screen wltl: S(JlfI(ICIOOI1 SPC Enzyme or Foto-Film Remover. Rinse well anc: f1pply UoGreaser with a soft scrub brush. Rinse with a solution of ono cupful acotic acid in a gallon of water. 00 not touch the screen ntu c/caning. 2. Enlarge the original imago 01110 KODALlTH Ortho Film 6556, Type 3, or KODALlTH AUTOSCREEN Ortho FiIm 2563. Refer to page 152 for the details on processing these films, 3, Place the high-contrast film positive into a printing frame with a sheet of Hi-Fi Green film. The plastic backing on the Hi-Fi film should be toward the film positive and the light source, Expose the Hi-Fi film to an ultraviolet light source: a sunlamp, photolamp, or arc lamp. Refer to the exposure table on page 278. 4. Develop the Hi-Fi film in Inko No. 201 Liquid or Ulano A and B powder-type developer, following the developer instructions. 5. Wash out the developed image on the Hi-Fi film with warm running water (not over 115F). 6, Adhere the wet Hi-Fi film to the silk screen by pressing the screen evenly over the wet emulsion of the film. Use paper towels to pat the emulsion into the screen and to soak up excess water, 7. Allow the screen to dry thoroughly and gently peel off the plastic backing. 8. Clean the screen with turpentine. 9. Tape strips of tissue paper around the edges of the screen in any area where the Hi-Fi film doesn't completely cover the screen. 10. Tape squares of cardboard to each corner of the screen frame to prevent speckles of paint from getting on the paper during printing.

WARNING:

THE FOLLOWING WELL-VENTILATED ROOM

STEPS MUST BE DONE IN A

11. With the paper in place under the silk screen, pour the ink along one end of the screen and squeegee the ink over the surface of the screen once, 12. Remove the paper to dry. 13. Immediately after you finish printing, clean the screen thoroughly with paper towels or rags soaked with turpentine.
RICHARD V. STOECKER

MORE INFORMATION
A photo silk-screen print made from three different screens.

The following books are good references for more information on silkscreen printing: /nko Silk Screen Printing Screen Printing Photographic Techniques, Fossett Photographic Kosloff Screen Printing,

Silk-Screen Techniques, Bielgeleisen & Cohn Silk-screen supplies are available from art-supply and craft shops. If you have difficulty finding silk-screening supplies or the above books locally, one supplier is Screen Process Supplies Manufacturing Company, 1199 rast 12th Streot, Ookland, California '1600. 287

\r

.More Information
REMOVING FIXER STAINS FROM CLOTHING
Even the most careful darkroom workers occasionally find brownish-yellow fixer and developer stains on their clothing, and these stains often appear after the garment has been laundered, These stains are stubborn, but there is a way to remove them, A ready-made fixer and developer stain remover, called Photo-Stain Remover K-14, is available in a ready-to-use plastic squeeze bottle from Anchor Chemical Company, P,O, Box 2983, Cleveland, Ohio 44116, Or, if you prefer to mix your own stain remover, a solution made from the following formula should remove fixer stains, Although this formula is not harmful to most yarns, it's always wise to test the stain remover by applying the solution to an unimportant part of the garment fi rst. Try it on an inside seam to see if it will bleach or otherwise damage the material. Water Thiourea* KODAK Citric Acid Water to make .,',.,
*EASTMAN able from

TEMPERATURE CONVERSION CHARTDEGREES FAHRENHEIT TO DEGREES CELSIUS OF

45 C 7,0 8,0 8,5 9,0 9.5 10,0 10,5 11,0 11,5 12,0 13,0 13.5 14,0 14,5 15,0 15,5 16,0 16,5 17.0 18,0 18,5 19,0 19.5 20,0 20,5 21,0 21,5 22,0 23,0

ANY QUESTIONS?
I1 you have any questions about the darkroom techniques described in this book, write to Eastman Kodak Company, Photo Information, Department 841, Rochester, New York 14650, KODAK

OF
74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92

C 23.5 24,0 24,5 25,0 25,5 26,0 26,5 27,0 28.0 28,5 29,0 29,5 30,0 30,5 31,0 31,5 32,0 33,0 33,5 34,0 34,5 35,0 35,5 36,0 36,5 37,0 37,5 38,5

OF
102

"C
39,0

KODAK SILVER STAIN REMOVER S-10

(For Removal of Fixer Stains from Clothing)

46 47 48 49 50 51 52 53

1 03
104 105

39,r.
40,0 40,5 41,0 41,5 42,0 42.5 43,5 44,0 44,5 45,0 45,5 46,0 46,5 47,0 47,5 48,5 49,0 49,5 50,0 50,5 51,0 51,5 52,0 52,5 53,5 54,0 54,5

BOOKS

96 fluidounces 10 ounces .. 10 ounces 1 gallon

1 06
107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130

Organic Chemical No, P497, availpholochemical dealers,

54 55 56 57 58 59 60 61 62 63 64

Instructions for Use

Thoroughly wet the stained part with this solution and wait for the stain to disappear, Old stains usually require more than one application of the solution and take a longer time to disappear-several minutes perhaps. When the stain has been removed, wash the garment thoroughly,

There are many other Kodak books like this one, They're written in an interesting and understandable style by experts who know their subjects tirsthand. These books will help you get the kinds of pictures you want by giving you ideas for pictures and exposing you to a wealth of picture-taking techniques and photographic information, There's a Kodak book to help you no matter what your photographic interest. For a list of current titles and prices send for a free copy of Photography Books from Kodak (L-7), Address request to: Dep!. 412-L, Eastman Kodak Company, Rochester, NY 14650,

93
94 95 96 97 98

CAUTION: Most preparations for removing fixer stains contain thiourea, a powerful foggant of photographic emulsions, Do not prepare or use stain remover in close proximity to areas where light-sensitive materials or processing chemicals are handled or used,

65 66 67 68 69 70 71 72 73

99
100 101

The degrees Celsius have been rounded off to the nearest 1/2 degree,

288

289

INDEX
Abrasive Reducer, KODAK Acetic acid Ammonium bichromate Anchor Chemical Company Argenta Paper Bas-Relief Books, KODAK Burning-in " 36 180 265,268 288 124, 125 161,162 289 16 38, 40 288 72-89 49, 50 KODAK EKTACHROME ... 93,95,185, 186, 188, 255-257 KODAK EKTACHROME 64 157, 158,254 KODAK High Speed Duplicating ... 34 . KODAK Pan Masking 31, 32 KODAK PANATOMIC-X 127,251 KO OAK PlUS-X Pan 80, 156, 178, 179,180,189,196,197-201, 210,231 KODAK Separation Negative ..... 155 KODAK SUPER-XX Pan .. 98, 100, 127 KODAKTRI-XPan .. 148,172,177,180 KODAK VERICOlOR Print 219, 220, 224 KODALlTH AUTOSCREEN Ortho .. 68, 70, 151, 277, 287 KODALlTH Ortho 68, 78, 141, 143,146,150,151,155,156, 159, 160, 171,205, 209, 237, 244, 277, 287 I<ODALlTH Pan 237 Filters KODAK Color Compensating ..... 28, 127,190,192,212,213,215, 216,219, 220,222,226-228, 244, 250, 251 KODAK POl YCONTRAST 28 Safe light 34, 124, 127, 152,196,209,218,239,249 Sharp-cutting 129,232, 233, 243-245, 255-257 Fixer, KODAK Rapid 152, 180 Fixers, stains 288 Flashing 22-24 FlEXICOlOR Processing Kit, KODAK 219 Foto-Film Remover 277, 287 Freezing, for reticulation 188, 189. Gels, letraset Color Glass, opal Gold Chloride Gum Arabic . . . . . . . . . . .. Gum-Bichromate Process chemicals developing multiple colors , preparation , printing , 219 253 117, 118 265, 268 264-272 268 269 269-272 268 268 188 116 287 154

INDEX (Continued)
processing ,'" I ti;~ retouchlnq , .... I G:l selecting .I/i I titles , luD Hypo Clearing Agent, KODAK 3n, 109-111,114, 11G, 118 Inko Developer . Intensifying films 19, 40 negatives and transparencies 38 lens-cleaning tissue 71 luminos Monochrome Paper 124 Mackie Line 193, 205, 212 Marshali's Photo Oil Colors 131 Martin's Synchromatic Transparent Water Colors 131 Masking area 32,33 contrast-increase , 34 contrast-reduction 31,32 Maskoid Frisket 122, 123 Matte Acetate 98 Moire patterns , 57, 58 Montages 70, 74, 75 48 22, 26, 32, 49, 60, 76, 93 Newton's rings 76 Nicholson's Peerless Transparent Water Colors 131 glass Opaque 88,141,149,150,153 Paper Argenta . . . . . . . . . .. 124, 125 KODABROMIDE 123,124,126 KODAK EKTACOlOR 74 RC and 78 .... 101,129,130,218,244 KODAK EKTAlURE .68,100,113,123 KODAK MEDALlST 104, 107, 110,112,118,120 KODAK PANAlURE 108, 110, 123,126,127,134 KO OAK PANAlURE Portrait ..... 110, 123,127 KODAK POl YCONTRAST 101, 110,123,196 KODAK POl YCONTRAST Rapid .. 91, 110,121,123,195 KODAKPOlYCONTRAST Rapid II RC 110,123,14 KODAK RESISTO 90, 106, 134 Monochrome color .. . 124, 125 single weight 98 Paper negatives 97-10 I Petroleum jelly ............... 22, 1f Nail polish Negative carriers, Photo Silk-Screen Process adhering cleaning development explanation exposure Inko developers multiple colors printing transferring washout PHOTO-FlO Solution, 281 277 279 273 278 279 283-286 281 277 279 ,

Chromium Intensifier, KO OAK Citric Acid, KODAK Combination printing Convergence controls, enlarger Developer Inko No. 201 liquid KODAK 0-76 KODAK DEKTOl

279 180 38, 40, 109,124,195,196 KO OAK OK-50 31,32, 98, 128, 155, 202, 203 KODAK HC-11 34, 197-201 KODAK SElECTOl 109 KODAK SElECTOl-SOFT 109 KODALlTH Fine Line 155 KODALlTH Super RT 68, 209 Ulano A and B 279 Development, selective 86 Diffusion 45-48 Diffusion Sheet, KODAK 22,32 Distortion ....................... 46 Dodging dye 28 filters 28-30 glass negative carrier .' 26, 27 matte acetate . . . . . . . . .. 24-26 Dowels 51

Photograms , Posterization explanation ,....... 230-236 materials 237 technique 237 tone separation 238, 239 Posterizing black-and-white prints 240-243 color prints 244-252 color slides .. , .......... 253-263 Potassium alum 114 bichromate , 265, 268 persulfate 116 sulfurated 115 Printing black-and-white negatives .. 129, 130 color negatives 126 Printing-in 16, 18, 20-24 Processing Kits, KODAK EKTACHROME Film, E-6 93 Rapid Color Processor, KODAK 214, 216, 218 Reducers abrasive 36 Farmer's , .. 35-38 Reducing films 35,36 prints 36-38 Register Printing Frame, KODAK 237 Register Punch, KO OAK 237 Reticulation 172-189 Reticulating black-and-whitefilms 177-184 color-negative films 185 IlY lnspactlon 188 rroezing errects ,., 189 nlmulatlon ..... ,., , . , .. 175, 176 IIlIlouchlng Mnrshsli'B PllOlll Oil Clllorll , , , ... 131

KODAK 35, 40, 152,180,229 84, 90-96

Easel, enlarger 49, 51, 53, 77 EKTACHROME Film Chemicals, Process E-6, KODAK 185, 186, 188 Electronic Flash 55, 253 Enlarger convergence controls 49, 50 distortion 50 easel 49, 51, 53, 77 Exposure, multiple 51-55 Farmer's Reducer 17,34,35,36,37, 38,153,195

Film Hi-Fi Green KODACOlOR

273,277-282,287 101, 144, 147,185,254 KODAK Commercial 80, 127, 128, 155, 163, 190, 197, 201-204 II

Hair dryer, portable 186, Hardener, KODAK Liquid 115, Hi-Fi Green film ..... 273, 277-282, High-Contrast Films prints and slides

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INDEX (Continued)
Martin's Synchromatic Fransparent Water Colors Nicholson's Peerless Transparent Water Colors Retouching ... .... 131 131 Texture screens commercial, 60-68 homemade 68-71,103,250 Texturefects Company 60 Thiourea 288 Titles 159 Tone-line negatives 85,163-170 Toners KODAK Blue T -26 117, 123 KODAK Brown .... 109-111,115,123 KODAK GOLD, T-21 .... 117,118,123 KODAK Hypo Alum Sepia, T-1a 114,123 KOOAK Polysulfide, T -8 115, 123 KOOAK POLY-TONER .. 109-111,123 KO OAK Rapid Selenium 109-111,115,123 KODAK Sepia 109-111, 120, 123 KOOAK Sulfide Sepia T-7a .. 116, 123 Toning blue 17,72,107,112,120,121 brown .. 105,109-111,113,120-123 classification chart 123 multiple 121,122 red 120,121 sepia 108, 114, 120 Turpentine 283, 287 Ulano developers Vignetting Water colors Peerless Synchromatic 279, 287 42-45 131 131

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Colors, KODAK ..... 21, 131, 133,137,138,154 Rubber cement 121, 123

Sabattier Effect explanation H)0-194 in black-and-white 56, 195-210 in color 212-229 Sandwich, film 32, 58, 70, 86, 103 Screen Process Supplies Manufacturing Company 287 Serascreen SPC Enzyme 277, 287 Silk-Screen Process (See "Photo Silk-Screen Process.") Silver nitrate 114, 118 Slides, printing 101, 127 SNAP-CAP Magazine, KODAK 159 Sodium carbonate , 115 chloride 114,118 thiosulfate ............. 114, 118 Solarization 193 Stains, fixer 288 Stop bath acetic acid 180 KODAK Indicator 152 Temperature Conversion Chart ..... 289

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This book has been revised to include the latest information on a wide range of darkroom techniques. The most contemporary methods and materials for achieving photographic effects have been added to this third edition of a book which has been popular with photo enthusiasts since it was first published in 1973, New data has been added to the sections on toning, reticulation, and the Sabattier Effect. Other sections have been reviewed and updated, For a complete listing of the techniques described' in this book, see the table of contents.

The Kodak products described in this publication are available through those dealers normally supplying Kodak products: Equivalent materials may be used if desired,

CONSUMER/PROFESSIONAL & FINISHING MARKETS Eastman Kodak Company, Rochester, N.V. 14650
1-B3-BX Major Revision Printed in the United States of America CAT 142 2211 ISBN 0-8798;;-309-3 '\ KODAK, PANALURE, EKTACOLOR, WRATTEN, POLYCONTRAST, PLUS-X, KODALlTH, POLY-TONER, AUTOSCREEN, ESTAR, DK-50, PHOTO-FLO, SELECTOL, SELECTOL-SOFT, HC-110, FLEXICOLOR, DEKTOL, KODABROMIDE, PANATOMIC-X, ,SUPER-XX, KODAGRAPH, SNAP-CAP, TRI-X, EKTACHROME, RESISTO, D-76, EKTALURE""dpAL, MEDALlST, VELOX, AZO, AD-TYPE, PREMIER, UNICONTRAST, DATAGlJiDE, KODABROME, VERICOLOR, and KODACOLOR .are trademarks. Creative Darkroom Kodak Publication Techniques No. AG-18

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